Approaching Christer Lieberath’s paintings is precisely the point.
His images have a mischievous ability to shift from the large-scale attractiveness we perceive from a distance to the relentless and absurd details with which one is rewarded when watching with myopic spectacles.
The pictures show fascinating installations of everything from pipe fittings without any seemingly sensible function, to human figures. The constructions seem to free themselves from the background of the paintings. The surface is filled in an almost obsessive way. You are sucked into an unknown infinite. Your gaze wanders. But this chaos is really a good representation of all the fragments of reality we are constantly deluged with: one need only think of the exceedingly brief news flow or web information snippets, or indeed often our own behaviour. A somewhat confused existence. So what first seems absurd and strange in Christer Lieberath’s pictures is really about something very familiar: our own reality, seen and clarified by the artist.

The title of the exhibition, Misantropolis, gives us a hint about a distrust of humans and all her vagaries. Or is it supposed to be a warning? That the destruction man achieves must balance the needs of our more civilized constructions and humanity. While these are serious themes, the artist knows how to make them available with irony and a liberating sense of black humour. And at times, we have the impression that we are in the world of comic-strips. This is also evident in the artist's graphics, where the technique of comic-strips, with its effective blacks and more direct form of address, gives energy to the images.

The exhibition begins, or ends with a tribute to the old master Lucas Cranach the Elder: Cool and enlightened this 1500-century beauty views the folly of later times.

Eva Thomasdotter
Smålands Konstarkiv