Exhibition view: David von Bahr, Energized, solo exhibition at Gallery Steinsland Berliner, Ph: Olof Ringmar.

From Impulse to Impact: Fakewhale in Conversation with David von Bahr

David von Bahr’s painting is a dynamic fusion of instinct and control, where raw gestures meet structured frameworks. Working on a large scale, he creates immersive pieces that engage the viewer physically, echoing modernist traditions while remaining deeply contemporary. We at Fakewhale spoke with him about his process, the balance between spontaneity and structure, and the evolution of his work.

Fakewhale: Your method of working directly on the canvas without drafts or outlines is bold and instinctive. How did you develop this approach, and how do you ensure that improvisation and intuition remain effective without veering into chaos?

David von Bahr: My approach developed over time as I began to trust the immediacy of my instincts. I realized that I didn’t need to plan before painting, what mattered was the connection to the canvas in the moment. To keep the energy. I’ve found that improvisation allows for a rawness and honesty in the work that outlines often stifle. To ensure this doesn’t diverge into chaos, I’ve set up guidelines that allow the spontaneity to have structure. These frameworks aren’t rigid but instead allow the work to evolve naturally, ensuring it stays focused yet free.

How does the scale of your paintings influence the emotional and physical connection you have with the work, and do you think this energy is conveyed to the observer?

The size of my paintings is integral to the experience. It allows me to move freely around the canvas, engaging physically with it, almost like a dance. The emotional and physical connection comes from the space the work takes up, which allows me to express energy

in a way that smaller canvases simply can’t. The large scale also emphasizes the presence of the painting, it’s not something that can be ignored, and I believe this energy is conveyed to the observer, making them feel the presence and intensity of the piece.

The human-sized dimensions of your paintings are a deliberate choice to reinforce their presence… How do you see this scale affecting the relationship between the artwork and the viewer, and what kind of exchange or dialogue do you hope to foster?

The scale of the paintings creates a physical relationship between the artwork and the viewer. When a painting is the size of a human being, it almost becomes an equal participant in the space. This scale invites the viewer to step into the artwork, to experience it in their own body and space, as opposed to just visually. I want to foster a dialogue where the viewer’s own movements, energy, and presence become part of the exchange. The paintings are not just something to observe but something to engage with, to feel as much as to see.

Your work incorporates bursts of paint, reworked into correlating but distinct designs. Can you elaborate on how you balance spontaneity with the structured frameworks that guide your process?

Spontaneity is essential for me, it’s about creating a sense of freedom and force. But once the initial bursts of paint have been applied, I rely on the structured frameworks I’ve set up to organize those elements into something cohesive. It’s a delicate balancing act: I embrace the unexpected, yet I know when to step back and guide those bursts into a form that feels resolved. The structure doesn’t limit but rather enhances the spontaneity, helping me refine it into a piece that feels both raw and purposeful.

What do you think about the condition of painting today?

Painting today, in my view, is a broad and diverse field with a vast range of approaches and voices. It’s exciting to see how it continues to evolve, blending new mediums, technologies, and ideas. But there is also a certain nostalgia for the traditional practices of painting, which I believe still have the power to communicate profound emotional truths. I think there’s room for both innovation and reverence for the traditions that came before us. My own work is a product of that dialogue, of respecting the past while pushing forward.

There are clear echoes of modernist traditions in your practice, from the physicality of action painting to abstract formalism. How do you see your work in dialogue with these legacies, and how do you strive to make your voice distinctly contemporary within this lineage?

I draw from modernist traditions because they represent a time of great innovation in painting, where the materiality of paint and the act of creation were integral to the work itself. While I acknowledge these legacies, I approach them with a sense of contemporary relevance. My work, though influenced by these traditions, doesn’t just look back, it responds to the current moment. I believe my voice in the lineage is distinct because I try to make the experience of painting itself central to my practice, engaging with both the physical and emotional aspects of creation, in a way that is meaningful today.

Who are the relevant personalities or other artists, past and contemporary, who inspire or have inspired your work?

F&F Only

Efficiency and satisfaction are key to your creative process, as you’ve mentioned setting up guidelines to enable freedom. What kind of practical structures or rules do you implement, and how do they empower rather than restrict your creativity?

I set up a few basic rules for myself, such as committing to the size of the canvas and ensuring that my movements are uninhibited by technical distractions. I often limit my color palette or establish certain gestures that I want to explore, which gives me focus. These structures help channel my creative energy effectively, so I’m not caught up in decisions that would stall the process. Rather than restricting me, they serve as a scaffolding that supports the fluidity of my practice. They allow me to move with confidence and focus while still leaving room for surprise and discovery.

What are your future projects for 2025 regarding your work?

In 2025, I plan to expand the scale of my work even further and experiment with new materials to enhance the physicality of the pieces. I’m also interested in collaborating with other artists and curators to bring my paintings into different environments, exploring how they interact with varied spaces. Additionally, I hope to create a series that more deeply engages with the idea of movement, both physical and conceptual, and how that can be expressed in the medium of painting. Im having a solo show in my hometown Stockholm at Gallery Steinsland Berliner in march (ENERGIZED!!!!!!!). Its my 3rd solo show at the gallery-last time I showed in Sweden was 2021 so I’m very excited. I will then start to work on a solo show in Rome and some other projects that will be announced later.