The "Blind Runner" was created at the time of the Gulf War. While different sources where often feeding very different kinds of information about the same events, the artist withdrew into deep reflection on the level of which we depend on news broadcasters. To find the pearls in the ever increasing flow of information has become nearly impossible.
As the sculpture by Mr. Weckstrom, we run blindfolded on our running mat, without seeing the reality. We think we are making progress, when in reality we are standing still in the same spot. The information revolution also works in the opposite direction: a blindfolded runner cannot redirect his messages towards the outer world.
Artists often seem to be very good at understanding their own work, but unable to appreciate works by others. When interaction is prevented, artistic communication and expression is impoverished. In a chaotic situation, the translators are becoming more important that the one to be interpreted. Curators, critics and gallery owners are superseding the artists in their notability. Even the audience is increasingly moving around in groups - waiting for, and demanding, guidance. The rules of the game are decided by others than the artists, and it is up to the artist to run, or refrain from running, the part assigned to his blindfolded self.
While making the "God of the Birds", Bjorn Weckstrom had been reflecting on ancient sculptors in Egypt, for instance. These were the fortunate ones, assigned to create images of the Gods. Mr. Weckstrom's reflective realism became the basis for a figurative sculpture - as opposed to the earlier abstract versions. A God of the Birds would probably
look like a bird, in the same way as people have given their Gods human resemblance. A deep basic theme resonates throughout: the stretching of one's own limits towards the divine.As part of many of Bjorn Weckstrom's works is a kind of framework, or plinth, which is without exception also expression-wise significant. It seems to represent social structures, external pressures and limits, casts of identities, as well as psychic etc. internal limits. By making the frameworks visible, Mr. Weckstrom also highlights the need for, and the possibility to detach oneself, to let go.
On of Mr. Weckstrom's most recent works - completed in the summer of 1998 - is the "Flying Icarus". It has detached itself from the frameworks and plinths, hanging in free space. The basic myth about Icarus continues to fascinate Mr. Weckstrom: The greatness of Man in Icarus, the need to rise above oneself, like a God. This relentless attempt to break one�s chains, and try one�s wings is deeply embedded in human nature - only the impossible is the measure of Man! The opening up of new opportunities creates a great energy, and is something that makes the artist very proud to be a human being.
Mr. Weckstrom described the birth of his sculptures as quite spontaneous, dreamlike. During the process, the works may grow out of their original idea, and may through stages of organic development become something entirely different. Even after completion - particularly immediately afterwards - one is not always in a state to explain why a piece of work turned out in the way it did. The verbal analyses seem very difficult and useless after the very exciting period of creation. The analytic self may rear itself only after months - sometimes years - have gone by. Mr. Weckstrom says he has tried to map out the overall process of creation throughout his life - so far unsuccessfully!
