Using photographs sourced from newspapers and social platforms, Liljeström raises questions about which events—whether from history, individual lives, or shared culture—hold significance. Through the artistic process of transferring a motif from photography to painting, she slows down the constant stream of images, forcing our attention to linger and reflect: what do we choose to preserve for future generations in news reports, archives, or museum collections?
Liljeström paints using airbrush, a tool first introduced in the early 20th century. Initially, the airbrush was primarily used by designers in the rapidly growing automotive industry. But, as often throughout history, artists were among the first to embrace the new technology. Photographer Man Ray (1890–1976) used the airbrush as early as 1918 in his creative work. The method itself has parallels with photography. Instead of rays of light, rays of colour to create an image without the artist’s hand touching the canvas.
Like a contemporary surrealist—the art movement in which Man Ray was active during the 1920s and 30s—Liljeström seeks out images and objects that reach out through the layers of time. By re-presenting previous events, new meanings emerge, and the idea of the past as irretrievably lost is disrupted. Major events such as 9/11 or the Ådalen shootings are preserved and etched into our collective memory, revisited in countless interpretations. But what about all the other moments when people are simply going about their lives?
The series “Scars on my knees” blends references from the archives of Västernorrlands Museum with images from other sources. Created specifically for this exhibition, the work reflects on relationships, play, intimacy, and labour—an exploration of human behaviours that recur regardless of time or place.
The true narrative of “Arena” lies in the absence of the earth-shattering and the dramatic. Instead, our attention is drawn to the universal, the in-between moments, and the life that constantly unfolds. The disjointed flow of images we consume daily is slowed-down, and the impersonal becomes personal. In this act, a critique of both the archive's supposed objectivity and the attention economy can be discerned. Liljeström’s painting delves deeply into the composition of fragments, giving attention to what might otherwise pass unnoticed. These frozen moments, stretched and examined, unlock the potential of images as portals to the magic of everyday life.
About the artist
Lisa Liljeström (b. 1998, Härnösand) is making her institutional solo exhibition debut at Västernorrlands Museum. She holds a BFA from HDK-Valand in Gothenburg and the Bergen Academy of Art and Design. Her previous exhibitions include shows at Brynge Konsthall (Örnsköldsvik), Hos Arne (Oslo), Galleri Thomassen (Gothenburg), and Coulisse Gallery (Stockholm).