Henrik Isaksson Garnell is somewhere else than you and me. He is in his laboratory creating new life forms; both physically and mentally. Like Mary Shelley and her effort of bringing life to her creation Frankenstein. Isaksson Garnell´s sculptures are to miss-lead other scientists when seeking evidence cause nothing is easy and solid; there might be a parallel universe. Isaksson Garnell does not find life as a circular stage; life and death are two time lines never to meet existing at the same time in separate zones.
In the series The Painter’s Skin Isaksson Garnell is objectifying a surface. It is through the skins function as a sensory organ that we receive stimulation from the outside and make contact with the world. Skin, therefore, plays an undeniably important role in our lives. The skin is the boarder between inside and outside; it separates function from décor and also me from you. The skin is also separating sane from insanity. The skin is our shield and to cross that boarder is to break the contract we have with our selves. It is the most extensive organ of the human body and forms at the same time its exterior, it is what we can say the total definition, or representation, of an individual human. In contemporary art, countless artists have approached “skin” in a variety of ways, including the French artist Orlan, whose performances are based on altering her own body with plastic surgery. Hayashi Tomoko, Japan, whose series i wear you…u wear me deals with physical contact between lovers who are separated by great distances. These artists focus on the delicacy of the “skin” and the nature of human existence through our relationship with the world.
The series Fetus are unique creations and are like dissecting extra-terrestrial bodies; one can imagine being engulfed in a bursting nebula. Fetus is the half-known, half-seen and is the perfect breeding ground for desire and hallucination. The earliest known drawing of an accurately defined human fetus was the celebrated one by Leonardo da Vinci, probably dating to the early 16th century, and the earliest known sculpture of the developing human was an 18th century piece intended for medical instruction. But maybe the earliest images of the human fetus were made in Formative Period in Mexico more than 2,000 years prior to Leonardo’s anatomical study. In contemporary art fetus are often held as symbols for miss-carriages but to Isaksson Garnell they are living creatures in their final stage of evolution.
Henrik Isaksson Garnell was born 1987 in Stockholm, Sweden. During 2013 he released his monograph Dissonance at Kehrer Publishing, Germany, with essays by Bill Kouwenhoven and Celina Lundsford, both editors and art historians from the US.