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Open a larger version of the following image in a popup: Johnathan Daily, Kapital i undergången (series Blixtfisket), 2020
Johnathan Daily, Kapital i undergången (series Blixtfisket), 2020

Johnathan Daily Swedish-American , b. 1974

Kapital i undergången (series Blixtfisket), 2020
Oil on canvas
120 x 140 cm, 130 x 150 cm with frame
Series: Blixtfisket | Fishing for Lightning
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This series marks the beginning of a new stylistic direction developed since 2019. It introduces a visual language that expands the capacity for expressing thought and imagination. The paintings are...
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This series marks the beginning of a new stylistic direction developed since 2019. It introduces a visual language that expands the capacity for expressing thought and imagination. The paintings are composed of loose brushstrokes worked into black backgrounds, with imagery that is intentionally somewhat random. Any recurring motifs are ephemeral and not driven by a fixed theme.


The process unfolds like casting a net into the shadowy depths of the mind—retrieving fragmented thoughts from the subconscious and intuitively bringing one to the surface, with little concern for why. That sense of sudden, electric discovery is what gives the series its name: Fishing for Lightning.


These works attempt to observe the mind’s internal projections, where memory and fantasy intertwine, objects cast no shadows, and forms are seen from an omniscient, multidimensional perspective. In this space, phenomenological impressions blur into abstraction.


The technique involves modifying varnish brushes to achieve thinner strokes and loosening oil paints until they become fluid. Only one color is applied at a time, with each layer left to dry before the next is introduced. Black brushwork is frequently used to reintegrate elements back into the background. Multiple layers are built up to produce three-dimensional color combinations that read as singular, complex hues—similar to the use of pastels in life drawing, which enhance vibrancy and depth.


Pigments are mixed to achieve partial transparency, which, in combination with the striated effect created by the adapted brushes, allows new layers to reveal much of the information underneath. This extends the number of layers that can be overlapped, unlocking the technique’s potential to create visual three-dimensional effects. Varnishing is also an important finishing step in these works, as it fuses the black layers together and makes the paint in the brushstrokes feel like crystalline light.


The technique itself is both liberating and demanding, offering a dynamic space for exploration and discovery.

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