Velvet Curtains and Penstemon, Oil on canvas, 24" x 28", £2400
The Forest , Oil, 35" x 43", £4800
The Old Conker Tree, Oil , 31" x 39", £4800
Deep in the Woods, Oil, 35" x 47", £5200
Boy, Ice, and Snowdrops, Oil, 24" x 20", £1800
Bright Light and Ivy, Acrylic on canvas, 24'' x 24'', £1,800
Broad Beans and Washing, Acrylic on canvas, 20'' x 20'', £1,400
Rhubarb and Lurcher, Acrylic on canvas, 28'' x 28'', £2400
Snapdragons and Sea Fruit, Oil on canvas, 20" x 28", SOLD
White Parrots, Acrylic on canvas, 24'' x 28'', SOLD
Hyacinth and Wonky Mirror, Acrylic on canvas, 20'' x 24'', SOLD
The Orange Teapot, Acrylic on canvas, 24'' x 24'', SOLD
Self-portrait with Aquilegia, Acrylic on canvas, 20'' x 24'', SOLD
Brita Granström has lived and painted in the UK since 1993. Her 2020 solo exhibition Leaves of Lockdown, held at Thompson's was a sell-out. Her work can be found in private and public collections including The Ruth Borchard Collection.
"The landscapes of both Sweden and the British Isles feature strongly in my paintings; environments that are always changing, never still. Painting on location and in all weathers; both indoors and outdoors, produces paintings that, for me, encompass and celebrate themes of hope, humanity, life and mortality."
Whether her subject is of people, landscape or a bowl of flowers in front of a window, the underlying purpose is the same: the energy of nature finds its equivalence in sweeps and scribbles of paint, shapes and colours which together encompass a myriad of feelings.' Mara-Helen Wood. Director Kings Place Gallery, London. 2011.
Brita beautifully captures in her paintings those intimate and tender moments in everyday life, so often missed or ignored.' Graham Simper. Thompson's Galleries, Aldeburgh. 2016
'At times playful, her work nevertheless has a pensive, perhaps haunting quality that touches on something beyond the narrative nature of the images.' Alex Godfrey, Godfrey & Watt 2018
While her landscape paintings are so much freer, broader and unconstrained, these much smaller, tautly condensed [still-life] paintings, are also about Nature but 'minutely examined and celebrated', like Gerard Manley Hopkins focussing on what he called the 'inscape' and 'instress' of 'dappled things':
From the published book; The Leaves of Lockdown. Brita Granström's Inscape Paintings from a Time of Crisis. Philip Vann, August 2020.
Brita Granström has lived and painted in the UK since 1993. Her most recent solo exhibitions are Nocturnal Swimmer (Tanner & Lawson, Chelsea) and Dreaming of Scotland (The Open Eye, Edinburgh) both in 2017. Previous solo exhibitions include Life in Landscape (Kings Place Gallery, London) in 2011. She has appeared on television and radio and was featured on the first ever Sky Arts Portrait Awards. Her work can be found in private and public collections including The Ruth Borchard collection.
Life in Landscape King's Place, London 2011
'I am enchanted by the exhilarating sweep of Granström's landscapes and seascapes, the adventurous freshness of the actual painting, and the unsentimental portrayal of very young children in wild natural surroundings!'
Philip Vann. Author and art critic discussing Granström's exhibition Life in Landscape. Kings Place Gallery, London 2011.
The Night Swimmer University Gallery, Newcastle upon Tyne. 2014
''Brita Granström draws upon her Swedish roots to blur the boundary between observation and imagination, reality and dream. In a narrative sequence that opens with playful domestic studies and bedroom interiors she leads us at dusk, by way of farmyard and orchard, to a lake where women struggle with storm-blown washing, and a dark jetty awaits the night swimmer." Mara-Helen Wood. Director, University Gallery.
Undressed. University Gallery, Newcastle upon Tyne 2008'...in rehabilitating the tradition of documenting scenes of everyday Swedish life as exemplified by the (somewhat kitsch) paintings of the 19th century artist Anders Zorn, Granström records them as they go about their domestic tasks, putting their tights on, dressing and undressing or making coffee... or splashing water over each other as they bathe in a lake, sometimes nude in that surviving Swedish custom...
This is 'carpe diem' painting; the moment must be seized before it vanishes, everything is in flux. Nor do these images have a hidden agenda, feminist or otherwise. There is no meditation on the body's 'abject' vulnerability. By contrast, their principal quality is truth, a criterion that cultural relativists seem to have wholly forgotten'
Extract from William Varley's essay in the exhibition catalogue for Undressed. 2008.
'Brita's paintings always jump start my day, just wonderful.' Arthur Robins. Artist/Illustrator