• photography of artist Vildmark Studio courtesy of the artist
    photography of artworks Berg Gallery courtesy of the artist

    Witch riding backwards on a goat, 2022, oil on canvas, 180x135 cm, Markus Åkesson

    Breath of Life an Interview with Markus Åkesson

    Written by Natalia Muntean by Janae Mcintosh

    When I paint, I enter this world as an explorer and the painting process becomes a journey of discovery,” says Swedish artist Markus Åkesson. His artistic journey is steeped in myth and magic, serving as a portal to a world where reality and dreams intertwine, the familiar becomes uncanny, and beauty is tinged with an undercurrent of unease.

    From an early age, Åkesson had a passion for drawing and developed an interest in motif painting during his teenage years. His artistic talent was first nurtured in his initial career as a glass engraver, a craft that fed his interest in light and texture as well as shaping his meticulous attention to detail. Although Markus has no formal training in the evocative and technically sophisticated realistic painting that has come to define his work, he is deeply fascinated by patterns. He draws inspiration from pattern cultures around the world and creates his unique designs. Using a refined and surrealistic method, he skillfully integrates these patterns into his paintings.

    Drawing from a rich tapestry of influences, ranging from Old Master paintings and medieval symbolism to Scandinavian folklore and alchemical traditions, his pieces, whether they depict solitary figures suspended in time or taxidermied animals frozen mid-hunt, are imbued with quiet tension. His paintings and sculptures invite viewers into liminal spaces, where the boundaries between life and death, past and present, and the tangible and the imagined blur.

    Natalia Muntean: Your work often explores the boundary between reality and dreams. How do you navigate this boundary and how do you decide when a piece has successfully captured that tension?
    Marcus Åkesson: In my work, this liminal space between reality and dreams has always intrigued me. It is an “in-between” state, which reflects transitions such as the passage from childhood to adolescence or the moments between sleep and wakefulness. When I paint, I enter this world as an explorer and the painting process becomes a journey of discovery. I aim to create images that also allow the viewer to journey into this ambiguous space, perhaps offering a glimpse into another world. A piece has successfully captured this tension when it evokes a sense of mystery and invites personal interpretation.

    NM: You’ve described your art as a way to “create a world where I want to be.” Can you elaborate on what this world looks like for you, and how it evolves with each new piece?
    : I wouldn’t say that it’s one specific world, but rather that creation, or being in a creative process, allows any artist to explore ”other worlds”. This feeling of entering another space, or if we call it another world, forms a natural part of a creative process, which is intriguing and a big part of why I long to create. This also extends out to the physical workspace. My studio is more than just a place where I paint; it is an environment I have carefully curated, an attempt to a physical extension of the universe that exists within my paintings. It is important to me that my studio feels like a threshold, so when I come to the studio, I enter the space mentally as well.

    NM: Your paintings are known for their incredible detail and texture, such as the intricate patterns in textiles or the play of light on skin. How do you achieve such realism, and what challenges do you face in rendering these details?
    :
    Achieving realism in my work involves foremost meticulous attention to detail and the use of traditional painting techniques. My way of working with painting is centred around glazing; a traditional painting technique applied in realism, in which transparent layers of colours are applied over another thoroughly dried layer of opaque paint. However, when paying so much attention to details, one of the challenges becomes to maintain a balance between the complexity of the patterns and the overall harmony of the piece. All these details should enhance the narrative rather than overwhelm it.

    NM: You often work with oil paints because of their versatility and depth. What is it about this medium that resonates with you, and how does it help you achieve your artistic vision?
    :
    Oil paint's versatility and depth have always resonated with me, allowing for a rich exploration of light, shadow, and texture. I usually work on several canvases at the same time, and they revolve in the atelier. Some are drying, while I add new layers to others. Oil painting’s slow drying time offers the flexibility to build layers and make adjustments continuously.

    NM: Your glass sculptures involve intricate techniques like glassblowing and gilding. How do you collaborate with master craftsmen, and how does this process shape the final piece?
    :
    Collaborating with master craftsmen is integral to my work with glass sculptures. The glass industry was once very strong in my region, and even though much production has moved abroad, the glass expertise is still very much alive. The skills in glassblowing and gilding of the craftsmen bring a level of precision and artistry that is crucial to realizing my ideas. It’s a collaborative process that allows for a fusion of artistic ideas and skills, resulting in pieces that embody both my artistic vision and the craftsmen's technical mastery. It makes it possible to produce pieces that no artist could do alone because of the lifelong experience every technique requires, and that is fascinating.

    NM: Your piece ”The Room of Life and Death” has been widely discussed for its haunting beauty. What was the inspiration behind this work, and what do you hope viewers take away from it?
    :
    When I painted The Room of Life and Death, I was drawn to the moment when a child first begins to comprehend the existence of death, not as an abstract concept, but as something tangible, something inevitable. There is an unsettling beauty in that moment, a paradox I wanted to capture. The girl in the painting stands still, gazing at the frozen hunt before her, a fox lunging at a pheasant, its jaws wide open, claws reaching. It is a scene full of tension, yet there is no real movement. The wooden panel behind them reveals the truth: these animals are taxidermy, lifelike, yet lifeless. This is not a hunt, but a display of one. And this is where the idea of illusion comes in. The child sees what looks like life, but in truth, she is standing in a room filled with death. There is something hauntingly beautiful about the way death can be preserved, its essence captured, almost admired. In many ways, this is a reflection of our own relationship with mortality. As children, we encounter death for the first time with a sense of wonder, perhaps even reverence. But as we grow older, we are taught to fear it, to push it away. This painting tries to capture that fragile, fleeting moment before fear sets in—when death is still just another mystery waiting to be understood.

    NM: ”Sleeping Beauty” sparked significant public debate. How do you feel about the role of art in society?
    :
    Art possesses the unique capacity to question societal norms and provoke thoughtful discourse. The reaction to “Sleeping Beauty” underscored art's potential to confront comfort zones and stimulate conversations about cultural values and perceptions. Such dialogues are essential for societal growth and self-reflection. However, the reactions to ”Sleeping Beauty” and the decision to remove the painting from the school where it was hanging, were surprising to me. But I guess that it’s something I cannot ever control; how different audiences will react to, or interpret my work.

    NM: You often use recurring symbols, such as gold, alchemic images, and esoteria.What do these elements represent to you, and why do they appear so frequently in your work?: Symbols have always fascinated me. There is something mysterious about the way they hold meaning. In my paintings, I choose symbols instinctively, guided more by feeling than by reason. There is no strict intellectual process behind them; instead, they emerge through intuition, through a kind of subconscious recognition. I combine them in ways that feel right, sometimes without fully understanding why. In this way, my paintings become a form of exploration. Sometimes, I am trying to understand something that I have not yet articulated, and the act of painting itself allows me to access that understanding. The symbols are not always meant to be decoded in a rigid way. They serve as entry points, both for myself and for the viewer. They open up narratives, suggest emotions and create contrast.

    NM: Gold is a recurring motif in your work, symbolising transformation and alchemy. How do you use gold to enhance the narrative or emotional impact of a piece?
    :
    Gold has always held a deep symbolic weight for me. In alchemy, gold represents transformation, the ultimate state of refinement, of transmutation from something raw into something pure and eternal. That idea fascinates me, the notion that matter, through a mysterious process, can become something transcendent. In many ways, painting itself feels like a kind of alchemy, turning pigment and canvas into something more than just an image, into something that holds emotion, memory, and meaning.

    NM: You’ve cited Old Master paintings as a significant influence on your work. How do you reinterpret their techniques or themes in a contemporary context?
    :
    I have always been drawn to medieval themes in art, particularly the Danse Macabre, or the Dance of Death. There is something deeply human in these works, the way they depict the inevitable fate that unites us all, regardless of status or wealth. Medieval artists had a way of portraying death not just as an end, but as a presence, an inescapable part of life itself. I find that perspective both haunting and beautiful. When I incorporate these themes into my own work, or even directly reference elements from medieval paintings and woodcuts, it is not simply an act of homage. It is an attempt to see the world as they saw it, to step into their mindset and to understand how they perceived existence. By borrowing their imagery, sometimes even copying specific details, I try to engage in a silent dialogue with the past. It becomes a way of experiencing their fears, their beliefs, and their aesthetics from within, rather than just observing them from a modern standpoint. What fascinates me most is how these old images carry a dual nature: they are both dark and strangely playful. The skeletal figures in the dance of death do not simply stand as grim reminders of mortality; they dance, they move, and they engage with the living in a way that feels unsettlingly intimate. It speaks to the way we try to negotiate with mortality, and how we dress it in symbols and rituals in an attempt to understand it.

    NM: You mentioned being inspired by literature, film, and music. Can you share a specific book, film, or piece of music that has profoundly impacted your art?
    :
    One of the most significant literary influences on my work is the collection Among Gnomes and Trolls, illustrated by John Bauer. This book, filled with Scandinavian folk tales and myths, captivated me during my childhood and sparked my fascination with drawing. The mystical forests and mythical creatures depicted by Bauer continue to inspire the themes and atmospheres in my paintings.

    NM: You describe your art as a continuous exploration of new ideas and techniques. Are there any new themes, materials, or methods you’re excited to explore in the future?
    :
    I am currently delving deeper into the interplay of patterns and art history by integrating motifs from the Middle Ages with floral designs. This exploration involves creating unique textiles based on these patterns and incorporating them into my paintings, allowing me to blend historical references with contemporary aesthetics. I’m also very excited about one upcoming project with Kosta Boda, a series of figurines that will be launched this autumn. It’s a project that feels deeply personal to me, not only because of the craftsmanship involved but also because of my own childhood fascination with porcelain figurines. I collected them as a child, completely mesmerised by their delicate details and the small worlds they seemed to contain. I never visited art galleries as a child, I didn’t come from that kind of background. But I did grow up surrounded by objects that told stories, small treasures that held meaning in their own way. That’s part of what draws me to this project. It’s an opportunity to create something that can connect with people in a different way, outside of the traditional art scene. Something that carries the same sense of mystery and beauty as my paintings but in a form that can be held, collected, and lived with. There is an intimacy to that that I find beautiful.

    NM: If you could go back and give your younger self one piece of advice about your artistic journey, what would it be?
    :
    I would encourage my younger self to embrace patience and trust in the process. Artistic growth is a journey filled with exploration, experimentation, and occasional setbacks. Embracing each experience as a learning opportunity and remaining true to one's vision are crucial for developing a unique artistic voice. 

    Book of Revelation, 2022, oil on canvas, 145x100 cm, Markus Åkesson
    Danse Macabre (Indigo), 2023, oil on canvas, 180x124cm, Markus Åkesson
    The room of life and death, 2014, oil on canvas, 110x200cm , Markus Åkesson
    Now You See Me, blown glass, gilded, 2022, Markus Åkesson (KostaBoda)
    Insomnia, 2024-25, 110x80cm, oil on canvas, Markus Åkesson
    Land Of The Loyus Eaters, 2024, 76x61cm, oil on canvas, Markus Åkesson
    Land Of The Loyus Eaters, 2024, 76x61cm, oil on canvas, Markus Åkesson
  • images courtesy of Fotografiska 

    Exclusive Sit Down with Elin Frendberg the Executive Director of Fotografiska Stockholm

    Written by Yasmine Mubarak

    Odalisque Magazine presents an exclusive sit down with Elin Frendberg the Executive Director of Fotografiska Stockholm - the definitive site for photography. Having studied art history in both Lund, Sweden and in Florence, Italy – Elin Frendberg has always had a strong interest for art. During her studies she took photography classes dreaming of having her own gallery. Consequently, when the opportunity came to become the Executive Director  at Fotografiska in Stockholm, the choice was easy

    …photography is the biggest, most inclusive and democratic art form in modern society and as a unique position to inspire people of different backgrounds” Elin replies after being asked about the future for photography as an art form “…I strongly believe in the importance of increasing accessibility to art. There are no thresholds to experiencing photographic art and it fosters a unique opportunity to create both individual growth and societal change.” 

    Having taken over as the Executive Director right during the Covid pandemic, Fotografiska had to close during Elin's first week on the job. With this, she and her team needed to act quickly and become creative “…the time right after (we had to close Fotografiska) was incredibly creative. The team created a 3D version of the museum, digital guided tours, pop-up photo exhibitions in bus stops all over Stockholm, opened a temporary “bicycle bakery” and sold lunchboxes from the restaurant ’'at the local supermarket…” she explaines 


    Fotografiska was founded in Stockholm in 2012, and quickly became a success for their unique way of creating and exploring the concept of showcasing photography in a mixture of gallery and museum. “The beauty with art is that it has the ability to hold and induce all the emotional values.” Elin says describing the importance of photography and art  “The best exhibitions can embrace both fear, joy, sadness and hope in the same time. Experiencing art should be like going to an emotional gym.” She continues “We (Stockholm) were the first Fotografiska museum in the world, “the mothership” and over the years, our brand has become one of the most beloved cultural brands in Sweden. We are a decade before our siblings and they are now innovators and disruptors in their markets, just like we were when we opened 15 years ago.  It is incredibly inspiring to collaborate with our siblings in Berlin, Shanghai, Tallinn and soon Oslo as they pioneer in their respective markets.”


    Overseeing an institution such as Fotografiska, one has the power to focus on the future. Speculative about the next generation of photographers Elin express “My hope is that the next gen keeps pushing boundaries, creates new forms of expression, and uses their voices to create change. That they will find a way to navigate the major challenges and opportunities of AI to convey new imaginative stories – and that we will find a way to keep documentary photography free from AI and fabricated realities, to preserve democracy and truth.”

    When not having to come up with solutions at work, she tells me she gets her energy from the guests “I get massive energy and inspiration from my work, creating unique experiences for our guests at Fotografiska is incredibly valuable to me. I have the favour of working with creative geniuses across the organization from curators and artists to chefs – all with the mindset to push the needle for a more conscious world.”

    Photography has become increasingly accessible during the tech revolution, where everyone has a camera in their pocket. The development of photography as an art form have therefore been one to discuss fascinatingly. Asking Elin about how she feels about the development of photography especially with social media she answers
    “There are 5,3 billion photos taken every day and each image tells a story. The fact that people are increasing their interest in and skills for photography and video expands both the supply and demand for the art form as a whole and helps to nuance artistic expression in new dimensions. I welcome the democratization of the art form and that people are becoming creative in their own narratives and voices. It also opens up accessibility to documentary photography, which is crucial in the world we live in today.”

    Being asked what they are looking for choosing their next showcase she replies “We seek inspiration continuously and look for cutting edge artistic relevance in expression, and craft. We also look for relevant themes and inventive outlooks that will add new perspectives in our society. We always strive for a mix of perspectives, backgrounds and expressions from all over the world and we combine 4-5 exhibitions simultaneously to over maxed out moments. We have a fast pace so that every visit holds a whole new experience each time you visit.”


    However, Fotografiska has had its controversies, not only in Sweden, but Norway and other parts of the world. Being asked why she believes Fotografiska sometimes can raise discussions “We have been a disruptor from the beginning and want to change the norms in the industry by creating an elevated museum experience for the modern world. A place where world class, cutting edge contemporary art meet vanguard cuisine and diverse cultural expressions at a fast pace. An inclusive space with no white walls or quiet guests. That is our obsession, we are here for our guests and members, and we don’t focus on potential opponents.”


    The question on if art and Fotografiska is failing the discussion of ’’elitism’’ in art. We ask what an institution and popular destination such as themselves can do for inclusivity.“At Fotografiska, we truly believe that art should never feel excluding.” She says  “It’s not about having a certain level of knowledge or and art degree – it’s about feeling something, being curious, and discovering new perspectives.” She continues “We get that not everyone has the time or money for culture right now. But we also know people are looking for real, meaningful experiences, something that sticks with you. That’s what we over. For us, accessibility isn’t just about discounted tickets (though we over those too – for kids, asylum seekers, students, and senior citizens). It’s about lowering the emotional threshold and making everyone feel welcome, curious, and included.”


    One of their many initiatives started two years ago, when Fotografiska launched Fotografiska Stockholm’s Emerging Artists series, an initiative highlighting young, promising photographers based in Sweden. Asking about it Elin desribes that “The purpose with the program is to highlight rising artists and new voices to support and inspire our local art scene.’’ She continues “We want to keep developing and using our platform to promote narratives in photography, both for established and emerging.”

    Now in 2025, Fotografiska is celebrating 15 years, for her hopes for the celebration and what she is looking forward too she answers  
    “I hope that all guests that has ever been here would come back to experience our anniversary and celebrate the artists that we have showcased throughout the years. That people come to relive their favorite moments and discover new emerging artists and perspectives and that they will create new art memories with their loved ones. We are celebrating 15 years, not 150, so we want this whole year to rather create a lively house party than a somber anniversary banquet, and everyone is invited!” she also invites us all for the Anton Corbijn exhibition “We are planning the Anton Corbijn exhibition for the summer and the massive 15 year Anniversary exhibition that will open in October – our biggest group exhibition to date with 100 exhibiting artists. It will be a milestone and a banger! In parallel with our Anniversary exhibition, we will also show the first ever group exhibition with our Emerging Artists initiative, so it will be a marvelous mix.”


    As a conclusion we had too ask what her hopes for the next 15 years of Fotografiska will be 
    “I hope that art will become an essential part of people’s lives. That experiencing live art moments alone or with loved ones will grow as an important obverse to streaming and scrolling. The need for emotional depth and new ideas and interpretations of our society has never been more important than today. I hope that we will continue pushing the needle in our field and inspire new perspectives for a more conscious world and that we will live for at least another 100 years to come.”

    Image courtesy of Fotografiska

    .

    Want to Visit? Here is What's On Now and in Autumn

    April 11 – August 31, 2025: Marco Brambilla – Double Feature
    June 13 – October 12: Anton Corbijn – Corbijn, Anton
    On exhibit now through March 2, 2025: Space – A Visual Journey
    On exhibit now through April 6, 2025: Bruce Gilden – Why These?
    On exhibit now through April 6, 2025: Josèfa Ntjam – Futuristic Ancestry: Warping Matter and Space-time(s)

    September 5, 2025 – November 30, 2025: Viviane Sassen – Phosphor: Art & Fashion 1990–2023
    October 17, 2025 – February 8, 2026: Group exhibition: Fotografiska 15 years
    October 17, 2025 – March 15, 2026: Group exhibition: Emerging Artists

    Nick Cave, London 1996 © Anton Corbijn

    Image courtesy of Fotografiska 

     

  • All images courtesy of MORJAS

    Image from MORJAS summer25 campaign

    Building a Brand with Soul: Henrik Berg on the Story Behind MORJAS

    Written by Ulrika Lindqvist

    For Henrik Berg, founder of premium footwear label MORJAS, the magic lies in the details — not just in the shoes, but in the entire brand experience. From a Stockholm apartment stacked with boxes to a flagship store and a newly launched women’s line, Berg shares how frustration became fuel, how timelessness trumps trend, and why good design should always leave a lasting impression.

    Ulrika Lindqvist: Can you tell us how long you've been working in accessory design and what originally inspired you to pursue a career in this field?
    Henrik Berg: MORJAS was launched in 2017 and I worked on it 1.5-2 years before launching so I’ve been in the business for about 10 years.
    I’ve always been drawn to the full experience of a brand, not only product design, but the whole spectrum of the brand universe. From visual aesthetics to materials, silhouettes and packaging and so on. To me, it’s important to blend a variety of ingredients that together create a memorable taste.This has been with me since a young age, I've been interested in both aesthetics (furniture, architecture, art, music, style) and business and how the two worlds can interact. The two don'talways overlap naturally, but when they do, it’s really interesting.
    My first real career experience came from working at Maria Nila, a beauty brand where I launched the brand globally working as an Export Manager. It was stimulating to work with the full scope of brand building, from product to storytelling to customer experience. Again, the full scope of a brand is something that has remained my core since.

    UL: What motivated you to found MORJAS?
    HBI was a frustrated customer. Period. I was a customer of high-quality shoes, but kept running into the same frustrating experience where I didn’t think that the value you received matched the price you paid – from product to brand experience. That disconnect between product and brand, price and service, became a frustration I couldn't shake. MORJAS was born out of that tension. I wanted to create a brand that didn't just deliver great shoes, but gave you the feeling of being taken care of, from start to finish.

    UL: Please tell us about the process in creating the SS25 collection.
    HBSS25 is the most extensive collection we've released so far. We've focused more on casual styles this season, including sneakers and boat shoes. Every new season begins with the team sharing product ideas and design proposals. We look at the collection as a whole and ask what's missing, what can be improved, and what adds value. We've always prioritised refining what we have before adding new styles. This year is no exception, with an updated boat shoe, a new deck shoe, and a complete redesign of The Trainer.

    UL: Can you walk us through a typical workday?
    HBNo day looks the same, which is part of the appeal. We're a team of fourteen, so I stay close to most parts of the business. I hold meetings, sync with different teams, and try to carve out time for creative and strategic work. That could be researching products, outlining a new campaign, or shaping future steps. The energy at the office and the people around me are a big source of inspiration.

    UL: How do you view trends in the world of accessories—would you say you follow them, or go
    your own way?

    HB: We observe trends, but we're not driven by them. Style, to me, is separate from fashion. It lasts longer. The aim is always to create pieces that feel relevant today but still resonate in five or ten years. That's why we spend time refining shapes, silhouettes, and materials over time. We want things to age well.

    UL: What is your favourite piece from the collection?
    HBThe Penny Loafer will always hold a special place. It was the first shoe we launched back in 2017, and still feels like the anchor of the brand. It's traditional but distinctive, with a balance between Swedish design and Spanish soul. Right now, I've been wearing the new boat shoe in taupe nubuck on repeat. And once summer hits, I'll basically live in The Espadrille and our unlined penny loafers.

    UL: What would you say are the three core values of MORJAS?
    HBDeliver WOW. Be kind. Take action. These values shape how we operate, how we treat each other, and how we interact with customers.

    UL: How would you describe the MORJAS customer?
    HBCurious, detail-oriented, and quietly confident. They appreciate quality, but they don't need to shout about it. There's a shared mindset among many of them: people who care about the small things, how something feels, how it's made, how it's presented — because those things say something without saying too much.

    UL: Please tell us a memorable moment from your journey with MORJAS?
    HBThere are honestly too many to mention. The first day I launched will always be a strong memory. I had about 200-250 pair of shoes from floor to ceiling in my small apartment and orders came flooding in and I had not even thought about getting a printer to print the shipping labels. So mywife ran down to the store and bought one and I kept packing like a maniac. We were very lucky to sell out the first batch in the first week which was an overwhelming response.
    Another one was when I and my dear friend and photographer Abraham Engelmark got our way into Italy during Covid to portray John Goldberger (AKA Auro Montanari) for his first brand story ever. It was our first major campaign and to date still one of the best we’ve done. When we opened our first flagship store in Stockholm, Casa MORJAS, in 2023 was another big moment. More recently, launching MORJAS Women has been one of the biggest milestones in our journey.
    Seeing the response and excitement around it has been incredibly rewarding.

    UL: What are your plans for the future for MORJAS?
    HBTo continue refining what we've built. That means listening to our customers, evolving with purpose, and staying focused on long-term value. We're not in a rush. The aim is to build something that lasts — something people remember not just for the products, but for the way it made them feel.

     Henrik Berg
    Still life of The Espadrille 

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