[translated] Just recently, It was one year ago the Helsingborg artist Jonas Aldgård, held his first big one-man exhibition at the Gallery Flesser. It was a stimulant show where he with his paintings had created art with preserved tradition, but also with personal inspiring imagination. Since that, Aldgård have had further exhibitions, in Sweden as well as in Denmark, and have got great attention in what he creates. Now, he's back at Gallery Flesser with almost 30 new pieces. He has not changed style, it's still paintings where the free lines of spontaneous movements combined with more distinct geometric shapes. In his work, it still exists a down to earth tone, combined with faces of more bright, stronger, but never challenging colours. The sense of lyrical stillness has stayed - the symbolic language, which both recall something visible and transform something real to abstraction reaches me like in earlier paintings in a challenging way. But never the less, I think something has happened, he has developed his artistic language, he has let the imagination grew more venturous. I can still associate Aldgård's work with other interesting painters, like Hundertwasser and Klimt. But Aldgård succeeds to go further, not to confine with The Already Done, but continues to develop that particular style. The paintings in its entirety, gives a special sense, in the small ones as well as the big ones. There is a timeless feeling, an oriental tone, in most of the pieces. The stillness causes a longing for a world where the great challengers never get their space. Here, the carefully meetings between different structures is interesting. Here are cities and landscapes constructed in a very special way. Not always so easy to interpret what you see, but so what. Like earlier is crops up small animals in places. Or some symbols. Parasols? Wheel with spokes? Yes, it's the small details on the whole that fortifies the effects of Jonas Aldgård's work.

LarsOlof Carlsson, Helsingborgs Dagblad, Sweden