Pier Stockholm

Born in 1977 in Lima, Peru. Lives and works in Paris, France


The artist’s iconography is a visit to the utopia of modernist architecture, Christian religious fervor, and the adolescent imagination that glamorizes one’s own beliefs and worships the promise of freedom in extreme sports, according to Martin Grossmann.
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Stockholm’s interest in colour, structure and volumetric line drawing is vividly present. His proposal in contemporary drawing is a fully-fledged achievement honed from what was there at the outset of his artistic process around 2000. His training as architect in Lima, Peru, had certainly to do with it. But then he also started to find ways to circumvent the strict conceptual, mathematical constructs of line and plane, to gradually build a range of allusion to project something different to a state of technical coolness and a climate of impersonality. Since he had, quite frankly, always tended to live in his head, what became uppermost in his thinking was letting the mind –his mind-, shift in its contemporary matrix of chemically-prevented pitfalls. This became the horizon against which he then pitted, together, both utopianism, as pure vision in which form and function are precisely conjoined with feeling, and freedom of association, with a certain degree of randomness even, to derive a work-method for himself.
It also meant the gradual incorporation in his work process of memories and recollections of an emotional, sometimes very personal kind, sometimes allowed to work their way into his actual artwork through appropriation of images and colour schemes.
By 2002 his process became marked by unexpected intimations of time and space, and produced what I am tempted to call ‘melancholy landscapes’, which were sometimes also ‘cityscapes’ by extension. These suggested impersonal, elegiac topographies in the form of architectural drawings, and at their most extreme implied the fanciful, and yet uplifting sewing-and-piecing together of a Prozac- garden headpiece made of different fabrics. With it, the ‘melancholy landscape’ was evidenced as a portable accessory, especially through photographs that quite unexpectedly portrayed the artist’s lifestyle as that of a loner who might be a flaneur, prone to wearing his mind on his head. 
A full decade on, his keenness to deal with the visual triad of colour, structure and volumetric line-drawing remains unabated. His penchant for exploration has driven him on to probe space and time culturally, in search of new ways of posing the question concerning how to engage thought and emotion in the making of art. PRISMATIC embodies his latest mode of addressing the Living End through a quirky vision of what might be the accents required to transpose the human life-cycle, if one had to figure it out visually in terms of the triad.
The complementation of opposites also makes an appearance in the end. Black deals briskly but categorically with the mask one might favour wearing through one’s ups and downs, and white comes into its own, with pantone attached, displaying a variety of tones that awakens one’s sense of wonder.
And then Pier Stockholm decrees full-stop.
In the end is the beginning. The full colour photograph of the loner in the studio wearing the primary colour mask brings everything to halt. With a jolt.
Jorge Villacorta. Lima, November 2012.