TOR LUNDVALL

electronic autumn landscape

- - - When and how exactly did you start getting interested in painting and visual art in general?

It's something that came to me naturally. I've been interested in art ever since I was a kid, however it wasn't until I started taking drawing classes in college that I started taking my artwork seriously.

- - - Landscapes and scenarios appear to be the main focus in most of your paintings. What are the most important elements you concentrate upon when creating a landscape?

I always concentrate on establishing the large masses of the landscape first, especially the impact area where the sky meets the land. These large blocks of color help create the tension in the work, and set up the foundation for the rest of the painting. The details are eventually carved out of these great masses of color.

- - - Human figures, when featured, never seem to be central in your works, rather one of the many elements on the scene. Even in "Protection", featured on the cover of Sol Invictus' "In A Garden Green", the hooded female, although central, appears to be part of nature, just like the trees and the birds. Do you agree?

Yes. The figures, no matter how prominent they are, are only a part of the larger whole of the painting. I sometimes describe my figures as fleeting shadows which are merely passing through the landscape.

- - - It seems to me that you prefer to use cold color tones, mainly blue, white and green, enhancing certain feelings of loneliness and spleen that inform your paintings. The same feelings emerge from your music. Do these colours and atmospheres come from the environment surrounding you, or from your deep inner self?

That's an interesting observation. Although I never restrict myself to a limited set of colors, I suppose I prefer a cooler palette. I rarely use extremely bright pigments such as cadmium red which happens to be my least favorite color. In the end, the colors and atmospheres in my work come from my reaction to the environment and the way I perceive the world. It's a combination of observation and insight I suppose.

- - - Which painting technique is your favourite, and why?

I have little interest in techniques in general. A good artist can make use of any medium and come up with something interesting and unique. I personally prefer painting with oils in spite of their poor drying speed. There's nothing else quite like it.

- - - Is there any painter or visual artist you can quote as model or inspiration?

The American painter Albert Pinkham Ryder was my earliest and strongest inspiration. When I first saw his paintings in Washington D.C. back in the late 80s, I knew I wanted to be a painter.

- - - How did your collaboration with Sol Invictus start? If I'm not wrong, your first artwork for one of their CDs was "King & Queen" in 1992.

I first contacted Tony back in 1991 after picking up the first two Sol Invictus albums. I was drawn in by the atmosphere of his music and decided to send him some samples of my work. I was pleasantly surprised when he responded and asked if I would be interested in creating the artwork for "King & Queen". I have fond memories of those days. I remember even running off to the library to do some research on sun and moon mythology before starting work on the design.

- - - Besides painting and visual arts, you're also known as a musician. When did this parallel career start? Which are your musical influences?

I first started recording my original material around 1989, however the music didn't take on it's own distinct character until a few years later. I have several musical influences, however I would say that Brian Eno is probably the earliest and most influential of them all.

- - - In 1998 for the first time you and Tony Wakeford collaborated in music for "Autumn Calls". How did this project come to life? Are you happy with the final result?

I was visiting Tony at his place in France back in 1994 and gave him some of my recordings to listen to. He liked what he heard and suggested the idea for a collaboration. I am very happy with "Autumn Calls". Every time I put it on, I am taken back to that lazy October in France.

- - - Is there in your opinion a link between visual arts, such as painting or sculpture, and a "non-visual" art like music? Being you both a painter and a musician, do you feel the sensitivity towards these arts are similar, or something completely different?

There is without a doubt a connection between the two. Speaking of Eno, he is probably the most successful at combining the two disciplines with his various installation and recent DVD projects. I would like to attempt something involving both my paintings and music someday, however what form this project would ultimately take I do not yet know.

- - - Have you done exhibitions of your paintings? Do you like the dimension of art exhibition? Is there any permanent one of your works?

I have been exhibiting my work in galleries since the early 90s, however not as frequently in recent years. I find the whole process of exhibition to be draining and ultimately not satisfying. It's tiring dealing with unimaginative, business minded people who are only interested in making money all the time. Such is the age-old story, however. There is no permanent exhibition of my work that I am aware of, however I have a few dedicated collectors who have several of my paintings displayed in their homes.

- - - Have you ever played your music live? Do you think it would fit the live dimension, or is it meant for a private, intimistic listening?

Apart from a handful of silly but fun performances where I played synth pop songs with some friends from highschool, I've never played my music live. It's definitely something that's best kept in the studio and is best listened to in private settings. Playing my music live does not interest me at all at this point.

- - - Could you introduce your new release "Yule"? Does the title reflect an interest in ancient Northern European culture and mythology?

I suppose my Nordic background always influences the music to some degree, however I simply liked the title as opposed to "An Ambient Christmas Extravaganza". "Yule" really isn't a Christmas album in the traditional sense of the word. It's more of a personal reaction to the underlying mystery and silence of the season.

- - - Thanks for answering our questions. If you would like to add something...

For those interested, the new CD EP "Yule" will be available through Strange Fortune around Thanksgiving.

- Simon V.

Website: http://www.torlundvall.com

Discography:

Passing Through Alone (Eternal Autumn Editions), 1997 CD
Autumn Calls (Tursa), 1998 CD with Tony Wakeford
Ice (Eternal Autumn Editions), 1999 CD
The Mist (Eternal Autumn Editions), 2001 CD
Evening / Leaves (Eternal Autumn Editions), 2002 7" picture disc
Under The Shadow Of Tress (Eternal Autumn Editions), 2003 CD
Last Light (Strange Fortune), 2005 CD
Empty City (Strange Fortune), 2006 CD
Yule (Strange Fortune), 2006 CD EP