The works are multifaceted but primarily revolve around the female experience, and one can sense an underlying critique of the forces that have shaped the time and world we find ourselves in today. Nature has always played an important role in her motifs, but recently everyday objects, arranged in still life–like compositions, have begun to merge with the landscape, disrupting the distinction between interior and exterior space within the picture. This serves as an exploration of how our
inner and outer worlds are intertwined and in constant flux.

Linnea Jensen draws much of her inspiration from modernism, from artists such as Munch, Bonnard, and Gauguin. However, it must be noted that this influence comes mainly from the postmodernist period, thus revealing a constant display and decomposition of the values that characterized the early stages of modernism. It is more about what can be expressed pictorially than about seeking new ground. It is about how color and brushstrokes can express a poetic feeling, rather than a dogmatic examination of the capabilities of painting.

“The exhibition revolves around childhood and the childlike. In this work, I have felt a deep need to create space for vulnerability and softness, which I believe are essential qualities inherent in being human. It is also a way of offering a kind of “soft resistance” and a counterbalance to the troubled, and sometimes frightening, times we are living in. The work is a compendium of autobiographical and poetic memories. Many of the pieces are inspired by moments I experienced with my two sons when they were still young, reflecting a tender attitude and a sense of curiosity in their interaction with nature. It is about memory, but not in a literal sense; rather, it is about merging complex events into a feeling—remembrance as a dreamlike state. It is a way of smoothing out the humdrum of daily life, with its conflicts and dramas, and allowing the mysterious and magnificent experience of being alive to come to the foreground.” — Linnea Jensen