There is a strong sense of independence at the heart of Joakim Johansson’s artistic practice. As a self-taught artist, he has developed his expression without being overly influenced by established role models or artistic ideals. This has given him the freedom to follow his own path and allow his personal way of seeing to remain at the centre of his work.

At the same time, his paintings can be viewed within a broader European context, where there has been a renewed interest in realism. His work shares certain affinities with the realist tradition associated with, for example, the Leipzig School and artists such as Tim Eitel. For Joakim himself, however, such artistic classifications are of less importance. Rather, his practice has evolved from a desire to explore and depict what he sees around him.

It is only in recent years that he has discovered artists whose work he feels a stronger connection with. Eric Fischl is one example, particularly in the way he approaches imagery and human situations. These encounters with other artists have not, however, led Joakim to imitate any particular style.

Instead, it is the act of depicting itself that forms the starting point. Whether the result is described as realism, superrealism or something else is of secondary importance to him. What matters is the ability to capture the world around him as directly and simply as possible, while also giving form to his own thoughts and experiences.