Detailed Biography II

Paint is not applied to the surface with a brush,but rather with a spatula. Out of the sombre depths, colours start to glow and to melt into shapes which reproduce the essence of things. His people, animals, landscapes and city scenes are new discoveries in which their inner life is disclosed. Eriksdun's painting could be called expressive-dynamic, a painting that reveals the resonance of, the depth of space without abandoning the composed coherence of the colours. In his masterful command of spatula technique with its radiant patches of colour, Eriksdun has had an exemplary influence since 1928. He has reaffirmed the position of oils -often pillored nowadays as being too conventional -to a degree that cannot be excelled. Basically speaking, each of Eriksdun's pictures is unique and incapable of repetition in its dynamics and brilliance. As all creative people aspire to do, Eriksdun also attempts to achieve the absolute. Like Cézanne, who in his decisive development grew far beyond impressionism and achieved a new strengthening of the form of the picture, Eriksdun, too, regards drawing as only of secondary importance, for in his case, just like with Cézanne, everything grows out of the colour. The colour itself is enriched in its tonal values, it is dense and saturated, the picture contents are often serious and heavy. All avant-garde attempts 
of the past fifty years, all accomplishments of liberated colour merge in Eriksdun's painting into a convincing synthesis. In his technique and mainly also through his technique, Eriksdun, the painter, has become one of the great classical moderns.

DR. HANS FELDBUSCH