Marie Lundquist, author:
A climate chamber is an enclosure in which temperature and humidity are kept at predetermined levels. It almost sounds like an innovation with which August could have experimented. He is obviously interested in the weather, in all its shapes and forms. Even though he preferred to let loose the storm rather than the calm. Both in his work and in his life. However, his play The Storm is not performed here, which one perhaps would have thought, but in Gallery 3, in “Master Loneliness’ Room”. Here, we present Mother Love, a stormy family showdown about a lost father and his daughters who were unaware of each other’s existence.
In the seas and skies (two of his favourite motifs) that August painted, the elements are practically always in turmoil. Sea and sky, two equally powerful combatants seem to be engaged in a battle for hegemony. The palette-knife (no sable’s hair pencil here!) has left clear and tactile marks on the surface. Yet there is often a factual, stationary feel to the turbulence. Just look at the two paintings on the wall, meticulously and pedagogically entitled Broom Buoy and Buoy without Top Mark. Faltering, but still upright, these sea-marks guide the seafarer as well as the viewer through the surges.
In the peculiar painting Double Pictures, August, just like in some of his plays, allows two worlds and weathers to glide into each other and co- exist. A fair landscape in blue and green is surrounded by a portentous and sharply cut stormy sky in grey-and-black vortices. The effect is surreal, as if August is commenting on Magritte’s blending of day and night, several decades before they were made.
* The Occult Diary, March 30, 1904