Painting Practice is a project by the artists Helena Lund Ek and Astrid Kajsa Nylander. P.P is a forum for conversations about painting, exhibitions and workshops. We want to create a collegial community and platform for artists based on painting; a room in a studio environment to practice and discuss painting together.  


Exhibitions in the studio 

MEGA WIDERSTANDSKRAFT SE02, Astird Kajsa Nylander, olja på duk, 185x328 cm, 2020

Liv Melin works with painting, often integrated with sculpture and textiles. She graduated with a bachelor's degree from the Oslo Academy of the Arts in 2019, and had a solo exhibition at Galleri Golsa in Oslo 2018. September 18-27, Liv shows her work at Centrifug in Konsthall C in the solo exhibition Skrrt skrrt off the track, another day back

Nadia Hebson is an artist and Senior Lecturer at Royal Institute of Art in Stockholm. She works across painting, objects, large scale prints, apparel and text through subjective biography most recently exploring the expanded legacies of American painter Christina Ramberg and British painter Winifred Knights, who she conceives as fictional mentors. 

Workshops in the studio 

Instagram Painting_Practice_


Conversations 12/9-2020 in the studio with artist on theme Refrences

Conversation about Materiality and the physical properties of painting and how these can be varied.

Dear Community

What about Painting as annotation?

When I think about my own work I think about coming from the margins, I mean both stylistically and professionally, in terms of the form of Painting and the act of being a Painter. The margins are where other perspectives can exist, where annotation can stake its claim. So what would happen say if we abandoned the romance of the gesture and it's connotations of the emotive -  the unbound and true expressive gesture, and instead considered the possibilities of an erudite, polished and deliberate mark? And at length those marks being capable of psychological and emotional illumination, no less rich or complex than the spontaneous gesture. Lets consider what's contained within the clichés of expressive form and their reading, for sure exclusion, prejudices, myopia? I see Painting as a discursive material potential, how could it not be, there so many ways to read it. But I can't work with it unless I problematise it and I can't leave it be.

I wanted to give you a question to consider for our conversation but I can't commit to a definitive statement, only a series of thoughts that hold different weight at different times, like my conception of Painting as something provisional, necessarily joyously, elastic even when it appears to be singular.

Nadia Hebson