My works explores how images can stay in the consciousness and meld with the present, sometimes, as what you saw less than a second ago, but also with the more distant past.
‘Swedish artist Stefan Fransson makes light mesh metal sculptures and abstract digital collages out of photographs, his prints, and other images. Flakes, an installation of mobiles and mesh sculptures that protrude from the wall, is a medley of light, whimsical parts, which could be snowflakes, clouds, gases, leaves, or other natural formations that populate our atmosphere. Fransson's collages express a similar interest in depicting natural phenomenon exuberantly. "Land" layers jagged shapes and slices of color in a composition that suggests the beauty of sedimentary overlap and accumulation. In The Change, this sedimentary theme is rendered as a large, biomorphic shape that looms inert, simply a part of everything, over the horizon of a nameless city.’ Debora Kuan, writer, and art critic, New York.
‘The compositions of Stefan Fransson seem to be comprising more than only the known dimensions of time and space. They show a complexity beyond the ordinary optical experience. An undefined vastness pervades these picture-worlds which seem to be lying in an infinity barely comprehensible with our senses. It is impossible to identify a beginning and an ending. These are complex arrangements, in which Fransson composes endless layers of pictoral fragments like collages on top and underneath each other translucent diaphane-like. It’s almost as if these worlds would be weightless - floating.
Some elements appear to be familiar, like flashes of memories, mingling with others. Other elements stay strange in their abstraction.
In the light of these suggestive permeations of picture elements, Franssons worlds breach paradigms in which linear fabrics of cause and effect are represented. Much more in his compositions, natural scientific and philosophical questions in which associations of networking are a basic principle are hinted. By this Stefan Fransson seems to succeed in building bridges between art and science, because his worlds seem to implement these theories visually.’ Stefanie Lucci, Art critic, Dusseldorf.
The back cover of Mayfair Life. April-May 2022.