Excerpts of reviews, a selection.
”She is free from necessarily depict reality”, said an art critic in a Swedish daily newspaper about Anne-Marie's works. ”Everyday I returned to nature and went straight for the motif.” The pieces are typically painted on the spot, right after the initial impulse. In her landscapes you through her choices of colour and shapes perceive the place and context of the motif. There is natural harmony in her work, no matter colour choice and the original motif.
The harmony in the language of colour and form travels like a red thread throughout her pieces whether the original image stems from nature, figures or a still life.
Anne-Marie Djurfors focuses now almost entirely on the abstract, specifically concentrating on the fundamentals of shapes and colours. The prismatic refraction pulsates, breathes and the geometric structures are filled by light and vitality, says Stig Johansson, SvD.
The colour blue is a theme through much of her work seen in titles such as ”At Sea”, ”Blue Hour” or the ”Form and Rhythm of the landscape”. It's not difficult to imagine that music also plays a large role in her works, colour literally dancing on her canvas or aluminium plate. These themes are also captured in her watercolours and collages, says Lars Hultman at an exhibition in Växjö.
”At Sea” is the name of a collection of work that builds on her experiences in southern Sweden. From the beginning of the 1980s, Anne-Marie Djurfors has varied these ocean surfaces. It's a kind of exploration, says the artist. It is about finding as many sources of inspirations as possible, says Bo Stroberg.
Anne-Marie Djurfors approach to her use of colour and shapes in landscapes are also repeated in her approach to developing her still life compositions. Firmly rooted in modernism and design, her particular approach takes further shape. A still-life becomes the interior of a studio. The contrast between the raw surface of aluminium and the multiple bright colours creates a tension and interplay that gives rise to other possible ways to view the piece. The interior of a studio pushes the boundaries further out, becoming the exterior. An urban landscape emerges.
Her ”interiors/exteriors” suggest playfulness and openness or despair and catastrophy It could be a ball bouncing between the pictures in an open conversation. A collector of her art expressed it this way: ”The laser-red thread gives me a sense of hope as if to say we're always connected - externally and internally; body and mind”. The composition also suggests a kind of force, which at a moment's notice can disintegrate the otherwise peaceful urban milieu.
Figures with horizon shows two sides of Anne-Marie Djurfors painting. One the one hand, the landscape provides the foundation of the picture. On the other hand, the landscape is in of itself a geometric figure. There is a kind of distance in these pictures, far and near, which creates the intimacy and fantasy of the viewer. You can travel in the picture. The geometric figure, in this case a mandorla and a triangle, provides additional space through its symbolism. These are pieces that provide the onlooker freedom to find their own interpretation.
The home, a safe place in a chaotic world, from where you can at the same time see your surroundings while find inner peace through personal insight and meditation. It is the peace and quiet in the picture that gives rise to greater possibilities for own thought. This is an example of how Anne-Marie Djurfors constructs her pictures. Similarly to her landscape pictures, there is a harmony of colour and form, which provides the overall context for the picture. In this case, the original image is that of the geometric landscapes of southern Sweden. This picture was used as the cover for a book put out by City of Stockholm government health organization.
The size of canvas she employs has during the years increased. In the beginning of her career, she chiefly worked with smaller formats. Furthermore, she tended to also work in different mediums such as gouache and water colour. Later yet, the collage became a medium of choice for expressing her art.
In the past number of years, she prefers to work with larger sizes of canvas such as 150 cm by 200 cm. Anne-Marie Djurfors prefers to work with oil on canvas, but has also developed a technique that includes painting on aluminum. She has also used techniques such as watercolours, collages and sculpture in wood to express her art.