From Björn Springfeldt’s opening speech at Jesper Nyrén’s exhibition “Panorama”, Norrtälje Konsthall, January 27, 2017:

“Here we stand, surrounded by Jesper Nyrén’s entirely new paintings—dizzily beautiful and seemingly abstract—but we also stand in the midst of the landscape, as Jesper Nyrén depicts it.
[…]

The first thing I saw by Jesper Nyrén was his graduation exhibition from the Royal Institute of Art in 2007. Paintings with triangular patterns, executed in the most fantastic gradation technique, where one color seamlessly transitions into another, or moves from light to dark.

I was astonished when I read the title of the largest: Fields and Sky. In other words, a view of the landscape. When I asked Jesper about the relationship between the title and the image, I was told that it was the view from his professor Ann Edholm’s guest room in the countryside—seen and photographed through a glass prism purchased at Buttericks. Struck by the beauty of the painting and the poetry of his project, we bought the painting, and I have surely spent hundreds of hours letting my gaze wander within it.

In the works we encounter here today, the triangles have been replaced by rectangles—the classical format of landscape painting. The triangles’ pointing toward the world outside the picture has been replaced by a pulsating system in depth.

All the images within the image have their own materiality and open in different ways toward the landscape—far out toward a distant horizon where everything becomes small, or toward a close observation of the smallest things at our feet, which become large. The colors Jesper Nyrén has gathered during walks in the forest. Everything is seen in nature.
[…]

Conventionally, we read a sweeping gesture as an expression of energy, but such a gesture can be made in an almost unconscious state. The heightened attention to the smallest brushstroke, the patience and concentrated presence that Jesper Nyrén’s painting demands, goes for me beyond most things in accumulated energy.”