Nichlas Winmalm constructs a both physical and erotic appeal, that reaches the viewer from below. Current ideas about solid visual material are not really valid. With help from a large amount of colourful information that includes linguistic fragments and quotations, the most important however ends up a bit aside from the language. Perhaps it’s there the essence of all good painting finds itself?

The mysticism is evident, but also filmic, narrative and autobiographical features that work contrapuntal against the nonlinguistic mystical.

The attitude is clearly postmodern. Nonhierarchic use of material from elder times, especially renaissance and mannerism, underlines through daring transformations this posture.

A theoretical foundation is not explicitly addressed. It is painting that put on an immediate relation to the viewer.