As a visual artist I’m working with the figurative motives in my drawing and paintings, the symbolic has to make a personal value to me, so there would never be an element in my work just to make it look good.
It can only be a part of my work when i feel a personal connection to it.
I am interested in the symbols in art, and working as a tattoo artist for 16 years my interest increased. The symbols in tattoos are very important but i could not connect to many of the motives,
for example a classic swallow on the chest, when i looked in to the meaning it says that someone has worked as a sailor and crossed the Atlantic, witch i haven’t and most of my costumers haven’t aether. or the Japanese koi fish symbolize good lock, but not for me i always saw a the koi as a gold fish and that didn’t do anything for me. so i felt very distanced to this, and had to change it into a fish i felt connected to, like flander that is so large and live best in ice cold waters and as a child i had a book where two kids catches a flander that is bigger than there boat, this made a big impression on me or the troth that i have cachet me self, or the Russian stergiun who looks like a dragon.
Or the Japanese magic monster fox Kitsune i changed in to a mix between a Greenlandic sledge dog that i always saw as a mysterious animal and my own dog. and with this in mind i changed all the tattoo designs that i used.
To prove my point.
But in the tattoos i still have to agree with a costumer and a technical limit and an esthetic obligations.
In my paintings and graphic i feel free, and for the most i am working many years with my motives and the symbolism in them, and this makes then part of bigger stories that i want to explain and convince viewers of my work to believe in.
But not with a realistic painting because i never believed in those my self, i always looked for mistakes in those paintings that broke the illusion.
so i want to show parts of my working progress in my paintings to make a more honest attempt to show that the carectors are real, i leave parts unfinished i the work so i doesn’t try to hide that it is a painting.
And copying the restoration progress in a church mural that showed how the long time since it has bin made, can be an authentic relation between my work and the viewer.
To show the work progress i use various tricks like water color technique that leaves part of the canvas open, this lighten the volume of the painting a technique that is also used in tattoo where we leave parts of the skin free so the tattoo doesn’t look plastic or sticker ish.
Still my paintings are a product of my mind, imagination and work progress and i am ambivalent to them because i know the progress so well.
So to get deeper down in the subconscious i use the woodblock print where the raw tecnic limits and simplifies my work into some thing else and in the end it gets mirrored so when i see it i get the feeling that it isn’t my own work but more a glimt of my subconscious i think it is the meditative mode i am in when i am carving the wood. the imagination simplifies the real life and twist it. I can get surprise when i see someone i know because they look so different than i remembered.
PELLE MØLLER SCHIØT, born 1977
2017 kursus i japans træsnit og trykke teknik ved Keiji Shinohara.
2005-2010: Det Fynske Kunstakademi
1999-2009: Sideløbende uddannelse som tatovør
1996-97: Tegneskolen i Ryesgade.
Japan 2008, 2009 og 2017, bl.a. for at opleve kultur og opbygge relationer.
Lithaun og Ukraine 2008 og 2009 for at studere de ortodokse kirkers udsmykninger.
Firenze 1998 i 5 måneder, for at studere renæssancekunst.
2019-20: ”fugl” gruppeudstilling på Johannes Larsens museum i Kerteminde
2018: Udstilling i Domus Filix i Lejre.
2016-2017: ”Den sorte skole” Fyns Grafiske Værksteds 40-års jubilæumsudstilling på Brandts i Odense og på Kastrupgårdsamlingen.
2015: Red Door Gallery gruppeudstilling.
2014: Galleri Officin gruppeudstilling.
2013: Kerteminde Art Festival.
2012: Udstilling i Huset i Magstrædet.
2012: Soloudstillingen ”Udsnit” i Arttra Gallery, december.
2012: Kerteminde Art Festival.
2012: ”Believe the Hype”, Galleri Wolfsen.
2011: Carlbergs Kunstforening.
2011: ”elephant parade copenhagen”
2011: Vægmaleri på silo i kerteminde havn i forbindelse med kerteminde art festival.
2010: Soloudstilling, ”Reinventing the Myth” I Taksigelseskirken, København
2010: ROM8, Vaskerelven 8 – Bergen 5014, Norge.
2010: Afgangsudstilling fra Det Fynske Kunstakademi
2010: ”Mytografia”, Himmerlands Kunstmuseum, udstilling af udvalgte træsnit.