Mauritzson’s paintings resist fixed narratives, emerging intuitively, one brushstroke at a time. The works unfold through scenes drawn from family life, daily routines, and close relationships.
We are excited to present Tove Mauritzson’s second exhibition with Galleri Duerr, Friends Forever, a title reflecting the fleeting nature of “forever.” The exhibition builds on her previous show, Keeper (2024), and continues her exploration of the quiet bonds of home and everyday life. Closeness is felt through presence rather than permanence. Memory and imagination blur into tenderly distorted scenes where care, habit, and vulnerability coexist.
Mauritzson’s paintings resist fixed narratives, emerging intuitively, one brushstroke at a time. The works unfold through scenes drawn from family life, daily routines, and close relationships. Fragments of lived moments coalesce in familiar rooms, forming mental landscapes where intimacy is lived rather than promised.
In I Know a Place, sprigs of greenery and flowers sit atop a windswept autumn scene, framed in a sticker-like motif. Bees, a pink grasshopper, a cauliflower, and roaming rats mingle in this symbiotic landscape, evoking the vitality of nature as generous, unruly, and alive. In the Wardrobe examines intimacy through shared routines and the rhythms of domestic life, where animals and everyday objects suggest the cyclical nature of living, while still lifes become spaces of quiet coexistence. Room With a View situates Mauritzson’s own and imagined dogs within domestic interiors, exploring bonds of loyalty and care that are tender yet vulnerable, while historical references subtly layer temporal complexity into the scene.
Rosa Goes to Heaven draws from family life, recalling a gentle hen lifted toward the sky. The painting hovers between memory, imagination, and symbolic transformation, resisting a single narrative and allowing tenderness, loss, and affection to coexist. Silent Night captures the intimacy of everyday life: toys scattered, ears of corn, and a trail of popcorn trace recent activity, while a stereo and a fluttering bird imbue the room with quiet vitality. In The Kitchen Was Rustic, surreal and uncanny touches—a snake in a meat grinder, mushrooms, a hare—collide with familiar domestic objects, creating small dramas that question permanence and celebrate immediacy.
These Home Grown Talents combines memory and observation, showing Mauritzson’s daughter among contemporary, historical, and folkloric details, with garfishes and a curious seagull adding humour. The work reflects her engagement with textures, objects, and cultural memory, merging past and present intuitively. They Wish They Had a River captures the family ritual of ice skating on a frozen lake, blending remembered friends, family, and objects into cohesive yet open-ended scenes that evoke the endurance of shared experience. Finally, in Won by a Whisker, subtle shifts in perspective and gentle distortion draw attention to objects’ presence, forming a vivid collage that emphasizes intuition, memory, and the lived world.
Across these nine works, Mauritzson invites the viewer into environments where intimacy, care, humor, and imagination coexist, and where the ordinary is rendered extraordinary through attention, memory, and the quiet unfolding of time.