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Jörgen Thornberg
Charlie makes a social visit to Cleopatra, 2024
Digital
80 x 80 cm
4 500 kr
Charlie and Cleo
"Charlie the Tramp, with cane and hat,
A wanderer known as a quick-footed brat,
From silent streets to screens worldwide,
He danced his way with wit and pride.
In alleyways and smoky halls,
He charmed the crowds; he broke their walls,
A man of laughter, of sorrow too,
With shuffling steps, his fame only grew.
Then time took turns, and tales grew grand,
The Tramp found himself in foreign sand,
An endless desert beneath the sun,
To Cleopatra's realm, he'd come.
There she sat in royal grace,
Half-goddess charm upon her face,
Eyes as dark as night's deep sea,
This queen of Egypt was wild and free.
Charlie, scruffy and streetsmart bold,
Spun her a joke, an ancient old,
Of pharaohs lost and wishes made,
And how fools were cursed by what they prayed.
Cleopatra laughed; she lost her throne,
Her guards, they gasped, the room a tone—
Of joy that echoed through all time,
A Tramp's soft joke, her laugh divine.
And as for what the ages know,
Beyond the sands where pharaohs glow,
Did they walk or part? No tales remain,
For love and laughter transcend the reign.
And in the stars, they say he roams,
Through endless skies and gilded domes,
Charlie the Tramp, with stride and grace,
Forever a traveller of time and space."
Malmö, October 2024
Charlie Chaplin never made a film specifically about Cleopatra. However, his iconic character "The Tramp" and Chaplin's humour would undoubtedly have had fun with a Cleopatra storyline! Chaplin's comedic style often poked fun at historical and cultural themes. However, Cleopatra herself didn't make it into his filmography—not because he disliked her but because he was uncertain how his audience would respond. On the contrary, he was deeply curious about this immortal queen. Now, the encounter would finally happen, with one condition: they both had to appear as they did in their time on Earth, as the professionals they once were—Chaplin as the Tramp and Cleopatra as the demigoddess.
In Chaplin's era, other actors occasionally explored Egyptian themes in silent films. Chaplin, however, focused on societal satire, romance, and the everyday struggles of the commoner, avoiding historical figures or epic tales. If Cleopatra had indeed crossed paths with the Tramp, we could only imagine how the mix of ancient royalty and slapstick humour might have played out! We were about to find out. The 'Lady and the Tramp'—although that title was already taken. Moreover, Chaplin wasn't entirely convinced that a female pharaoh was necessarily a "lady" at all, suspecting she might be either a power abuser or, as rumoured, a man-eater. That last part wouldn't bother Chaplin; he hadn't been a saint.
Charlie Chaplin's cinematic repertoire did not include films directly connected to Egypt or Egyptian themes. His focus remained on contemporary social issues, romance, and satire, distinct from the historical or exotic settings often associated with ancient Egypt. However, Chaplin did create films with adventurous themes that hinted at exploration or discovery, albeit loosely. For instance, The Gold Rush (1925) played with the excitement of adventure and hardship, but in the Alaskan wilderness, not an Egyptian desert.
Chaplin's cinematic preferences were rooted in settings that allowed him to connect with audiences through humour about the human condition. He steered clear of ancient settings or mythological backdrops, preferring to address contemporary social issues. His portrayal of the dictator in 'The Great Dictator' was perhaps the closest he came to addressing power. In this hypothetical encounter, Cleopatra, like Chaplin, could be seen as an unrivalled player of power games, though one who ultimately lost her realm and her life.
Charles Chaplin arrived as only a Time Traveller could, navigating secret cosmic pathways to the fabled location of Cleopatra's summer palace, hidden beneath shimmering desert sands behind Alexandria. For centuries, archaeologists and tomb raiders had scoured the Earth for this mythical sanctuary of silken nights and marble floors—yet for a Time Traveller with the correct celestial coordinates, the way was as clear as a city street.
Chaplin, the wily Tramp with his bowler hat and cane, strolled through the palace's golden arches as if he were strolling down a back alley in Los Angeles. There was none of the hustle of city life here, only luxury in every corner, statues staring solemnly from their pedestals, and an atmosphere of lost grandeur still pulsed with life.
Cleopatra, a figure of awe-inspiring power and grandeur, was Waiting for him, seated upon her throne, radiating an aura befitting a demigoddess. The eternal queen, surrounded by mystique and majesty, gazed down at the tiny, scruffy newcomer with the air of a cat watching a mouse scurry across her marble floors. Yet Cleopatra, whose divine grace usually inspired awe, found herself curiously drawn to the simplicity of Chaplin's playful charm.
Not far off, Julius Caesar and Mark Antony—who now resided in a triumvirate with Cleopatra on a star somewhere in the cosmos—stood watch next to her golden throne, ready to intervene if Chaplin proved mischievous as legend suggested. Even in eternity, his reputation had preceded him, and both Romans had donned their roles as bodyguards, just in case.
Not one to be intimidated, Chaplin flashed Cleopatra his trademark smile and launched into an unexpected old Egyptian joke he'd picked up, "The Spirit and the Fool." He spun the tale of the three stranded pharaohs—Ramses II, Akhenaten, and Tutankhamun—each convinced they were greater than the others. Marooned on a lonely island, the three kings, bored of recounting their conquests, soon found themselves in a quandary. Restless Tutankhamun, poking about in the sand, uncovered a magical lamp. He rubbed it and out popped a spirit. Ramses, in all his seniority, demanded to go first.
The spirit, grateful to be freed, granted each man a wish. Ramses wanted to be back on his star with his court, and Akhenaten made the same request. After a moment's thought, Tutankhamun said, "I miss my friends here, so I wish them back with me." Poor Tutankhamun, young and prone to bouts of homesickness, had forgotten his hatred of mosquitoes, which had taken his life via malaria. He'd finally found peace from the buzzing pests among the stars, but his fondness for companionship had clouded his judgment.
Cleopatra's laughter echoed through the palace, a joyous sound that filled the air and brought a smile to even the most stoic faces. She laughed so hard that she nearly toppled from her throne, much to the alarm of her Roman sentinels. Caesar and Antony exchanged glances, realizing that the Time-travelling tramp might have bested them in charm.
And with that, Chaplin tipped his hat, shared a nod with the Romans, and, with a cheeky smile, raced back to his red Ferrari waiting outside—leaving Cleopatra, Caesar, and Antony in a fit of laughter. Revving the engine, he tore off into the sands, leaving behind the echoes of laughter and the unforgettable memory of a tramp who had brought joy to the greatest queen of ancient Egypt.
Jörgen Thornberg
Charlie makes a social visit to Cleopatra, 2024
Digital
80 x 80 cm
4 500 kr
Charlie and Cleo
"Charlie the Tramp, with cane and hat,
A wanderer known as a quick-footed brat,
From silent streets to screens worldwide,
He danced his way with wit and pride.
In alleyways and smoky halls,
He charmed the crowds; he broke their walls,
A man of laughter, of sorrow too,
With shuffling steps, his fame only grew.
Then time took turns, and tales grew grand,
The Tramp found himself in foreign sand,
An endless desert beneath the sun,
To Cleopatra's realm, he'd come.
There she sat in royal grace,
Half-goddess charm upon her face,
Eyes as dark as night's deep sea,
This queen of Egypt was wild and free.
Charlie, scruffy and streetsmart bold,
Spun her a joke, an ancient old,
Of pharaohs lost and wishes made,
And how fools were cursed by what they prayed.
Cleopatra laughed; she lost her throne,
Her guards, they gasped, the room a tone—
Of joy that echoed through all time,
A Tramp's soft joke, her laugh divine.
And as for what the ages know,
Beyond the sands where pharaohs glow,
Did they walk or part? No tales remain,
For love and laughter transcend the reign.
And in the stars, they say he roams,
Through endless skies and gilded domes,
Charlie the Tramp, with stride and grace,
Forever a traveller of time and space."
Malmö, October 2024
Charlie Chaplin never made a film specifically about Cleopatra. However, his iconic character "The Tramp" and Chaplin's humour would undoubtedly have had fun with a Cleopatra storyline! Chaplin's comedic style often poked fun at historical and cultural themes. However, Cleopatra herself didn't make it into his filmography—not because he disliked her but because he was uncertain how his audience would respond. On the contrary, he was deeply curious about this immortal queen. Now, the encounter would finally happen, with one condition: they both had to appear as they did in their time on Earth, as the professionals they once were—Chaplin as the Tramp and Cleopatra as the demigoddess.
In Chaplin's era, other actors occasionally explored Egyptian themes in silent films. Chaplin, however, focused on societal satire, romance, and the everyday struggles of the commoner, avoiding historical figures or epic tales. If Cleopatra had indeed crossed paths with the Tramp, we could only imagine how the mix of ancient royalty and slapstick humour might have played out! We were about to find out. The 'Lady and the Tramp'—although that title was already taken. Moreover, Chaplin wasn't entirely convinced that a female pharaoh was necessarily a "lady" at all, suspecting she might be either a power abuser or, as rumoured, a man-eater. That last part wouldn't bother Chaplin; he hadn't been a saint.
Charlie Chaplin's cinematic repertoire did not include films directly connected to Egypt or Egyptian themes. His focus remained on contemporary social issues, romance, and satire, distinct from the historical or exotic settings often associated with ancient Egypt. However, Chaplin did create films with adventurous themes that hinted at exploration or discovery, albeit loosely. For instance, The Gold Rush (1925) played with the excitement of adventure and hardship, but in the Alaskan wilderness, not an Egyptian desert.
Chaplin's cinematic preferences were rooted in settings that allowed him to connect with audiences through humour about the human condition. He steered clear of ancient settings or mythological backdrops, preferring to address contemporary social issues. His portrayal of the dictator in 'The Great Dictator' was perhaps the closest he came to addressing power. In this hypothetical encounter, Cleopatra, like Chaplin, could be seen as an unrivalled player of power games, though one who ultimately lost her realm and her life.
Charles Chaplin arrived as only a Time Traveller could, navigating secret cosmic pathways to the fabled location of Cleopatra's summer palace, hidden beneath shimmering desert sands behind Alexandria. For centuries, archaeologists and tomb raiders had scoured the Earth for this mythical sanctuary of silken nights and marble floors—yet for a Time Traveller with the correct celestial coordinates, the way was as clear as a city street.
Chaplin, the wily Tramp with his bowler hat and cane, strolled through the palace's golden arches as if he were strolling down a back alley in Los Angeles. There was none of the hustle of city life here, only luxury in every corner, statues staring solemnly from their pedestals, and an atmosphere of lost grandeur still pulsed with life.
Cleopatra, a figure of awe-inspiring power and grandeur, was Waiting for him, seated upon her throne, radiating an aura befitting a demigoddess. The eternal queen, surrounded by mystique and majesty, gazed down at the tiny, scruffy newcomer with the air of a cat watching a mouse scurry across her marble floors. Yet Cleopatra, whose divine grace usually inspired awe, found herself curiously drawn to the simplicity of Chaplin's playful charm.
Not far off, Julius Caesar and Mark Antony—who now resided in a triumvirate with Cleopatra on a star somewhere in the cosmos—stood watch next to her golden throne, ready to intervene if Chaplin proved mischievous as legend suggested. Even in eternity, his reputation had preceded him, and both Romans had donned their roles as bodyguards, just in case.
Not one to be intimidated, Chaplin flashed Cleopatra his trademark smile and launched into an unexpected old Egyptian joke he'd picked up, "The Spirit and the Fool." He spun the tale of the three stranded pharaohs—Ramses II, Akhenaten, and Tutankhamun—each convinced they were greater than the others. Marooned on a lonely island, the three kings, bored of recounting their conquests, soon found themselves in a quandary. Restless Tutankhamun, poking about in the sand, uncovered a magical lamp. He rubbed it and out popped a spirit. Ramses, in all his seniority, demanded to go first.
The spirit, grateful to be freed, granted each man a wish. Ramses wanted to be back on his star with his court, and Akhenaten made the same request. After a moment's thought, Tutankhamun said, "I miss my friends here, so I wish them back with me." Poor Tutankhamun, young and prone to bouts of homesickness, had forgotten his hatred of mosquitoes, which had taken his life via malaria. He'd finally found peace from the buzzing pests among the stars, but his fondness for companionship had clouded his judgment.
Cleopatra's laughter echoed through the palace, a joyous sound that filled the air and brought a smile to even the most stoic faces. She laughed so hard that she nearly toppled from her throne, much to the alarm of her Roman sentinels. Caesar and Antony exchanged glances, realizing that the Time-travelling tramp might have bested them in charm.
And with that, Chaplin tipped his hat, shared a nod with the Romans, and, with a cheeky smile, raced back to his red Ferrari waiting outside—leaving Cleopatra, Caesar, and Antony in a fit of laughter. Revving the engine, he tore off into the sands, leaving behind the echoes of laughter and the unforgettable memory of a tramp who had brought joy to the greatest queen of ancient Egypt.
4 500 kr
Jörgen Thornberg
Malmö
Lite om bilder och mig. Translation in English at the end.
Jag är en nyfiken person som ser allt i bilder, även det jag fäster i ord, gärna tillsammans för bakom alla mina bilder finns en berättelse. Till vissa bilder hör en kortare eller längre novell som följer med bilden.
Bilder berättar historier. Jag omges av naturlig skönhet, intressanta människor och historia var jag än går. Jag använder min kamera för att dokumentera världen och blanda det jag ser med vad jag känner för att fånga den dolda magin.
Mina bilder berättar mina historier. Genom mina bilder, tryck och berättelser. Jag bjuder in dig att ta del av dessa berättelser, in i ditt liv och hem och dela min mycket personliga syn på vår värld. Mer än vad ögat ser. Jag tänker i bilder, drömmer och skriver och pratar om dem; följaktligen måste jag också skapa bilder. De blir vad jag ser, inte nödvändigtvis begränsade till verkligheten. Det finns en bild runt varje hörn. Jag hoppas att du kommer att se vad jag såg och gilla det.
Jag är också en skrivande person och till många bilder hör en kortare eller längre essay. Den följer med tavlan, tryckt på fint papper och med en personlig hälsning från mig.
Flertalet bilder startar sin resa i min kamera. Enkelt förklarat beskriver jag bilden jag ser i mitt inre, upplevd eller fantiserad. Bilden uppstår inom mig redan innan jag fått okularet till ögat. På bråkdelen av ett ögonblick ser jag vad jag vill ha och vad som kan göras med bilden. Här skall jag stoppa in en giraff, stålmannen, Titanic eller vad det är min fantasi finner ut. Ännu märkligare är att jag kommer ihåg minnesbilden långt efteråt när det blir tid att skapa verket. Om jag lyckas eller inte, är upp till betraktaren, oftast präglat av en stråk av svart humor – meningen är att man skall bli underhållen. Mina bilder blir ofta en snackis där de hänger.
Jag föredrar bilder som förmedlar ett budskap i flera lager. Vid första anblicken fylld av feel-good, en vacker utsikt, fint väder, solen skiner, blommor på ängen eller vattnet som ligger förrädiskt spegelblankt. I en sådan bild kan jag gömma min egentliga berättelse, mitt förakt för förtryckare och våldsverkare, rasister och fördomsfulla människor - ett gärna återkommande motiv mer eller mindre dolt i det vackra motivet. Jag försöker förena dem i ett gemensamt narrativ.
Bild och formgivning har löpt som en röd tråd genom livet. Fotokonst känns som en värdig final som jag gärna delar med mig.
Min genre är vid som framgår av mina bilder, temat en blandning av pop- och gatukonst i kollage som kan bestå av hundratals lager. Vissa bilder kan ta veckor, andra någon dag innan det är dags att överlämna resultatet till printverkstaden. Fine Art Prints är digitala fotocollage. I dessa kollage sker rivandet, klippandet, pusslandet, målandet, ritandet och sprayningen digitalt. Det jag monterar in kan vara hundratals år gamla bilder som jag omsorgsfullt frilägger så att de ser ut att vara en del av tavlan men också bilder skapade av mig själv efter min egen fantasi. Därefter besöks printstudion och för vissa bilder numrera en limiterad upplaga (oftast 7 exemplar) och signera för hand. Vissa bilder kan köpas i olika format. Det är bara att fråga efter vilka. Gillar man en bild som är 70x100 men inte har plats på väggen, går den kanske att få i 50x70 cm istället. Frågan är fri.
Metoden Giclée eller Fine Art Print som det också kallas är det moderna sättet för framställning av grafisk konst. Villkoret för denna typ av utskrifter är att en högkvalitativ storformatskrivare används med åldersbeständigt färgpigment och konstnärspapper eller i förekommande fall på duk. Pappret som används möter de krav på livslängd som ställs av museer och gallerier. Normalt säljer jag mina bilder oinramade så att den nya ägaren själv kan bestämma hur de skall se ut, med eller utan passepartout färg på ram, med eller utan glas etc..
Under många år ställde jag bara ut på nätet, i valda grupper och på min egen Facebooksida - https://www.facebook.com/jorgen.thornberg.9
Jag finns också på en egen hemsida som tyvärr inte alltid är uppdaterad – https://www.jth.life/ Där kan du också läsa en del av de berättelser som följer med bilden.
UTSTÄLLNINGAR
Luftkastellet, oktober 2022
Konst i Lund, november 2022
Luftkastellet, mars 2023
Engleson Galleri Caroli, april 2023
Hydra, Greece June 2023
Engleson Galleri Caroli, oktober 2023
Toppen, Höllviken december 2023
Luftkastellet, mars 2024
Torups Galleri, mars 2024
Venice, May 2024
Luftkastellet, oktober 2024
Konst i Advent, December 2024
Galleri Engleson, Caroli December 2024
Jäger & Jansson Galleri, april 2025
A bit about pictures and me.
I'm a curious person who sees everything in pictures, even what I express in words, often combining them, for behind all my pictures lies a story. These narratives, some as short as a single image and others as long as a novel, are the heart and soul of my work.
Pictures tell stories. Wherever I go, I'm surrounded by natural beauty, exciting people, and history. I use my camera to document the world and blend what I see with what I feel to capture the hidden magic.
My images tell my stories. Through my pictures, prints, and narratives, I invite you to partake in these stories in your life and home and share my deeply personal perspective of our world. More than meets the eye. I think in pictures, dream, write, and talk about them; consequently, I must create images too. They become what I see, not necessarily confined to reality. There's a picture around every corner. I hope you'll see what I saw and enjoy it.
I'm also a writer, and many images come with a shorter or longer essay. It accompanies the painting, printed on fine paper with my personal greeting.
Many pictures start their journey on my camera. Simply put, I describe the image I see in my mind, experienced or imagined. The image arises within me even before I bring the eyepiece to my eye. In a fraction of a moment, I see what I want and what can be done with the picture. Here, I'll insert a giraffe, Superman, the Titanic, or whatever my imagination conjures up. Even stranger is that I remember the mental image long after it's time to create the work. Whether I succeed is up to the observer, often imbued with a streak of black humour – the aim is to entertain. My pictures usually become a talking point wherever they hang.
I prefer pictures that convey a message in multiple layers. At first glance, they're filled with feel-good vibes, a beautiful view, lovely weather, the sun shining, flowers in the meadow, or the water lying deceptively calm. But beneath this surface beauty, I often conceal a deeper story, a narrative that challenges societal norms or explores the human condition. I invite you to delve into these hidden narratives and discover the layers of meaning within my work.
Picture and design have been a thread running through my life. Photographic art feels like a fitting finale, and I'm happy to share it.
My genre is varied, as seen in my pictures; the theme is a blend of pop and street art in collages that can consist of hundreds of layers. Some images can take weeks, others just a day before it's time to hand over the result to the print workshop. Fine Art Prints are digital photo collages. In these collages, tearing, cutting, puzzling, painting, drawing, and spraying happen digitally. What I insert can be images hundreds of years old that I carefully extract so they appear to be part of the painting, but also images created by myself, now also generated from my imagination. Next, visit the print studio and, for certain images, number a limited edition (usually 7 copies) and sign them by hand. Some images may be available in other formats. Just ask which ones. If you like an image that's 70x100 but doesn't have space on the wall, you might be able to get it in 50x70 cm instead. The question is open.
The Giclée method, or Fine Art Print as it's also called, is the modern way of producing graphic art. This method ensures the highest quality and longevity of the artwork, using a high-quality large-format printer with archival pigment inks and artist paper or, in some cases, canvas. The paper used meets the longevity requirements set by museums and galleries. I sell my pictures unframed, allowing the new owner to personalise their artwork, confident in the lasting value and quality of the piece.
For many years, I only exhibited online, in selected groups, and on my Facebook page - https://www.facebook.com/jorgen.thornberg.9. I also have my website, which unfortunately is not constantly updated - https://www.jth.life/. You can also read some of the stories accompanying the pictures there.
EXHIBITIONS
Luftkastellet, October 2022
Art in Lund, November 2022
Luftkastellet, March 2023
Engleson Gallery Caroli, April 2023
Hydra, Greece June 2023
Engleson Gallery Caroli, October 2023
Toppen, Höllviken December 2023
Luftkastellet, March 2024
Torup Gallery, March 2024
Venice, May 2024
UTSTÄLLNINGAR
Luftkastellet, oktober 2022
Konst i Lund, november 2022
Luftkastellet, mars 2023
Engleson Galleri Caroli, april 2023
Hydra, Greece June 2023
Engleson Galleri Caroli, oktober 2023
Toppen, Höllviken december 2023
Luftkastellet, mars 2024
Torups Galleri, mars 2024
Venice, May 2024
Luftkastellet, October 2024
Konst i Advent, December 2024
Galleri Engleson, Caroli December 2024
Jäger & Jansson Galleri, April 2025
Utbildning
Autodidakt
Medlem i konstnärsförening
Öppna Sinnen
Med i konstrunda
Konstrundan i Skåne
Utställningar
Luftkastellet, October 2022
Art in Lund, November 2022
Luftkastellet, March 2023
Engleson Gallery Caroli, April 2023
Hydra, Greece June 2023
Engleson Gallery Caroli, October 2023
Toppen, Höllviken December 2023
Luftkastellet, March 2024
Torup Gallery, March 2024
Venice, May 2024