About Us
Galleri Stattin is run by Ingrid Stattin and Jan Lindahl in the old converted barn on the farm Högadal outside Odensbacken in Sweden. The farm is beautifully situated in the small hilly borderland between the fields and the forest and is surrounded by small woodlands and pastures.
Ingrid Stattin
Ingrid studied in the 70s and 80s at Gävle Art School, Forsa Folkhögskola, textiles and at Konstfack, interior design. She gained her deep knowledge of colour, pigments and technology when she worked for conservator Alf Hedman and the major restoration of paintings and sculptures in Uppsala Cathedral in the 70s and subsequently with a number of other churches and historic buildings.
In 1983 Ingrid opened her own studio on Upplandsgatan in Stockholm. With her knowledge of style and art history together with solid knowledge in both painting and textile crafts, she came to be hired by both antique dealers and private individuals for the restoration of old and valuable furniture.
In 1987 Ingrid moved to Örebro. There, the business of painting and furnishing in older environments was resumed. One of the first tasks was the restoration of the large mural painting in Örebro's old bathhouse.
In Frövifors Manor, Ingrid was responsible for the interiors during the transformation from offices for Assi Domän to original 18th-century character. In connection with the construction work Ingrid discovered, hidden under late suspended ceilings, a motif painted ceiling from approximately the middle of the 18th century. The painting was partially fire-damaged and Ingrid carried out extensive antiquarian restoration work. While working on Frövifors Manor, Ingrid was responsible for all interior painting work and personally carried out marbling and other decorative paintings. Finally, Ingrid undertook all purchases of textiles, furniture, lighting, housewares and other fixtures in order for the mansion to regain its 18th-century character and to serve as representative premises for Assi Domain.
Ingrid participated in the reconstruction of the Red Mill (a theater) in Örebro as a historical expert and also carried out some restoration work. Ingrid also participated in the renovation of the Sigtuna Foundation with interior design consultancy work as well as handicraft work. Next to the public environments, Ingrid also worked both as a craftsman and style historical consultant in private homes, for example Medevi Säteri and Nasta manor.
In recent decades Ingrid has devoted herself entirely to her own art, especially watercolour and oil painting.
Ingrid's art is strongly emotional. It is characterized by a search for inner peace and security in a troubled and often frightening world. Often the lonely houses appears in her paintings, with a warm glow from the window in a stormy and inhospitable environment. Fence posts that stake out a possible path through the landscape of existence. Or a phoenix rising from the ashes after being destroyed in the fire. One can see Ingrid's paintings as a kind of symbolic self-portrait in which the houses, the facades, the birds, the fences are reflections of her soul.
Jan Lindahl
Jan started photographing in the late 60's and developed and copied images in the kitchen at his childhood home. In the early 80's he began to devote himself more systematically to the technical mastery of photography. The black-and-white suite of night shots from Stockholm is a result of his studies of Ansel Adams' zone system, where through exposure and development techniques he mastered large ranges of contrast without losing detail in either highlights or deep shadows.
Jan has never fully converted to digital technology, although he has now left the darkroom. He uses classic large-format cameras with leaf film, scans the negatives and does the 'darkroom work' in Photoshop. His great interest in photography as a craft has shifted to the modern technology, especially in working with prints. A lot of time, money and energy has been devoted to understanding color control, tonal range and how the entire chain from the moment of shooting to the finished print is affected by each sub-moment.
Jan's pictures are often characterized by calm and meekness. The large formats and the photographic technology of large format cameras provide an extremely high level of detail that invites to consider the images from a distance, but also to go really close and discover new images in the image. His subjects are often drawn from nature, but he is not primarily a nature photographer but rather searches for states of mind. It is probably no coincidence that the images that have been sold to the public environment have often ended up in care settings such as hospitals, health centres and nursing homes.
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