Erik Langkjær, born 1967, had his first exhibition in 1985 and today his works are popular with a Danish audience. Since 2009, he has been a permanent exhibitor in Gallery Habsø, now one of the biggest galleries in Denmark. Here he is represented throughout the year and has sold oil paintings for clients both home and abroad. Recently he has been affiliated with Gallery Minerva, New Form Malmö, Sweden.
As an academic philosopher and with a four year education in Tibetan Philosophy and psychology, Erik has been engaged in understanding how we experience. It is reflected in his paintings where the impermanence of life and human sense experience are in focus. Very often human beings or figures in a context appear in his paintings.
Erik has taught aesthetics, painting, drawing, and croquis at various levels, for instance at folk high schools and upper secondary schools.
Senseperceptions have a richness and a beauty that fascinates me in my painting. It is a way of getting into intimate touch with the visible world around me, and through it – with myself. Very often human beings or figures in a context are in focus. The models I choose to paint are neither necessarily young nor wellproportioned. Instead I look for the unique greatness of the human being in front of me and through that to reveal eternal human conditions. To me, a certain attitude or gesture may be full of poetry and by painting that I become more aware and alive. I may start painting an ordinary thing and realize how extraordinary it really is! When succeeded it is to see the little things in a great perspective.
In my paintings I use energetic brushwork and broken colors related to impressionism. Instead of painting things, I want to catch the special light on the location. Very often I put blobs of color next to each other and a painterly surface occurs. Seen at a short range, this ”mosaic” looks like an abstract painting. Watching it on a distance, it reveals itself as something recognizable – a market place for instance. There are so to speak two perspectives in one picture. Looking at the paintings the spectator may acknowledge that he or she is also a participator when shapes and the kaleidoscope of colors are becoming meaningful.