där bilderna fylls av naturlika ytor: mellanrum och grenverk, vatten och reflexer, som leker tafatt. Men det viktiga är inte naturbegrundan. Ingen kan vara mer fjärran från sådan målad centrallyrik än Yvonne Larsson. Det rör sig snarare om förtätningar hon skapar i skilda färgackord. Från det öppna, skimrande till det slutna förtätade. Det är mer bilden av naturen än en skogspromenad.
Ofta förekommer olika byggnader. En del har egen kulturhistoria. Till exempel Hoppers hus, som ju även har spelat en roll i filmens historia. Andra ser mer ut som klippta hur en tidning eller ritning. Går du nära dessa mönsterhus händer något märkligt med målningen. Det som såg fast ut löses upp i dirrande penseldrag. Inget verkar stadigt, det rör sig om förgänglighet och sken. Den stora målade ruinstaden tiger i en dov klang av pariserblått, rosa och krapplack. Och den sluter sig om sina hemligheter. Nära ytan löses husen upp i korta penselstreck, och det stilla ljus som lagrats i krapplacken kommer från flera lager av undermålning. Denna långsamma framväxt har satt spår i små hårda, blanka öar på ytan. Här finns det taktila, som i alla målningarna, mjukt mot hårt, blankt mot matt. En sinnlighet som bor i själva metamorfosen från minnets aning till färgens förvandling.Katalogtext 2008 Thomas Millroth, chef för Ystads Konstmuseum, 2008
Painting is to see what you saw.Even if the motifs are recognizable they have very little to do with the actual appearance of the world around you. It is most of all connected with one´s memory, telling you here it is! but not explaining what it is.
Recognition is connected with signs – like letters or pictures. In this case the essence of something has turned into something else. And this something else has to be re-seen to be brought back to another kind of essence, which is more relevant to the artist. It has all to do with a state of mind, a condition or a situation, the quality of which is very hard to describe, because it is so important for you. To try to find out this Yvonne Larsson often uses the same archetypic motifs year after year. It is not a kind of repetition, it is more a fact how the past, even if it was just a glimpse in your memory, is a perpetual change, variations, where each and every one differ from the others just as much as it resembles. And this is the privilege of the painter knowing that the colours themselves will act differently for each new painting, adding ever new questions and qualities, that you had not yet realized, to your memory puzzle. It has to do with your existence, in this case what you see. There are shadows and reflections in Yvonne Larsson´s paintings. I do not only think of her triptyche where different colours create different densities in what could be a glimpse of nature, thus adding three totally different poetic meanings, but indeed also the many different buildings. One thing that strikes me is how clearly you see their outlines seen from far away, but when you come closer the bulks of the houses tend to dissolve into the rhythmic writing of the brush. The paintings have a pronounced intimacy, a tactile quality emmanating from the way she paints. You see a city of ruins, wondering which one it could be you move closer fascinated by the rows of deserted buildings created with tiny rhythmic spots of pink on the large madder-red surface. Getting real close you feel all the layers of different colours underneath as a kind of strange light. And you can also trace the work as it has caused glossy spots on the surface. Your eyes want to feel the painting, which has turned into a mental state;