There is a sparkling faded beauty to it all. As time elapses the recessed value of formal elements change. Perceived images separated from its source slowly turn into recovered memories. Initial intentions lost upon time are left to an aesthetic surface deprived of its original significance.

Ole Martin Lund Bø’s Havana consists of a selection of silkscreens and paintings. Thin layers of paint are applied to a faded canvas.The decaying fabric seems to bear the burden of tropical exposure and constant humidity. Geometrical sequences of blue and white create formal patterns indicating a predetermined motive.

However, as is the case in much of Ole Martin Lund Bø’s works, the connection between what is real and what is illusive nonetheless remains unclear. The canvas spawns out of present intention. The fictional patina tinges the works back to the past. A past that didn't happen, as much as a future that didn't arrive.

In Havana distorted depth planes and optical trickery command a distance to how we perceive and process our environments. Traits of artistic gestures or leftovers of architectural sketches are reproduced out of context. Messages from a future that didn't materialise, derived from tattered design magazines or just as well from shattered utopias.

It may feel as if sections of these patterns appear through a dilation of time. These are figures that in their essence feel vulnerable, close to extinction. They speak of different levels of time unfolding, of how images are unstable constructions, altered through our senses.

Ole Martin Lund Bø diverts the spectator’s interpretation of his formal elements through an interaction with the essential premises of imagination. The surfaces of each one of his works become an arena of altercation, of unlocking and unveiling. Flickering images turn from sensory extensions to internal and, bit by bit, faded, veiled, memories. Blue is the last colour to fade in sunlight.