With much of Love Enqvist’s work, there is a concern with how we stand in relation to one to another, how relation is constantly in flux determines community and how individuality is inextricably bound to relation, rather than alienation or separation. His projects draw upon the process of living and the condition of life. By questioning how we live and dwell, and reflecting upon that, the everyday appears transformed, so that what is reflected is the fragmented, mysterious and often imaginary nature of our being.
As everyday observations form a starting point, the context directs, positions and forms the work. Diggers and Dreamers draws upon a myriad of utopian visions which are expressed through architecture, community and personal reflections. But, here the notion of a social document is transformed to re-present a heterogeneous relationship to language and meaning, where we also encounter an inner, subjective language of drawings, writings and other inscriptions.
The journey to and from the everyday becomes a constant theme. The body moves and the journey’s end is undefined, unfinished even. Here the works occupy a site of physicality, a way of residing in the world that implies borders and confines, yet also the freedom of humanity. A kayak is taken, an excursion to an unknown place in Stockholm, Istanbul: a paddle trip through the Baltic, Danube and the Black Sea. A quality is present that manoeuvres things into well-wrought but delicate doubt – shifting between taughtness and mess, fact and fiction, leaving traces of dreams and reality.
Enqvist integrates elements that are usually given over to architecture, politics, philosophy, science and esoteric thought, so that art forms only one element among others in a complete thought process. Using film, performance, sound, photography, drawings and objects, his work occupies a place that is pervaded by a sense of elusiveness, a search for something that exists as much in the imagination as anywhere else.
Edith Marie Pasquier