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Jörgen Thornberg
A Crown of Ambition, 2024
Digital
70 x 100 cm
5 200 kr
A Crown of Ambition
“A Bitch Reborn
Upon the stage where shadows weave and dance,
There steps a figure, fierce in her advance.
No gentle maid, no silent, saintly dame,
But Frida, crowned in history’s scornful flame.
“A bitch!” they hiss, those whispers sharp with spite,
Yet she, unbowed, claims power as her right.
With flowers bright, her crown of thorns entwined,
She shapes a tale where boldness is redefined.
“Unsex me here!” she cries in Hamlet’s guise,
And dares the world to meet her steadfast eyes.
Not cruelty, but her will to shatter chains,
Through savage storms, she dances in her pains.
A Lady Macbeth reborn in Mexic hues,
With ruthless love, her art is the sharpest muse.
No spectral guilt can haunt her vibrant hand,
She wields her brush as queens command their land.
To schemers old, the label oft confined,
Yet Frida twists it, fierce and redefined.
The "witch," the "shrew," the woman cast aside,
Through her defiance, history's tides collide.
Oh, daring Frida, bold to tread this role,
A bitch, a hero, and a fractured soul.
Upon the boards where truth and lies entwine,
She dares the world to call her power divine.
Malmö, December 2024
A Crown of Ambition
Scene: Frida Kahlo’s Dressing Room, Nöjesteatern
(The room blends Frida’s vibrant aesthetic with theatrical props. Her makeup mirror casts a warm glow, and the air is heavy with the scent of flowers from her crown. The Director, dressed sharply but somewhat frazzled, sits across from Frida, holding a notebook and pen. Frida adjusts the vibrant flowers in her hair while gazing into the mirror.)
---
Frida: (leaning back, a sly grin spreading across her face)
"So, what do you think? Shall we dare tackle another play? This time, with a woman so divisive that even her name makes men shift in their seats."
The Director: (raising an eyebrow)
"And who would this formidable woman be? Lady Macbeth? (Frida nodded) Isn’t she a little...mossy? Or better suited for someone like Ingmar Bergman if he were still around?"
Frida: (laughing, shaking her head)
"Only if we leave her in the shadows where men have kept her for centuries. No, my dear director, Lady Macbeth is not a relic. She's a challenge. A symbol. Her story could be both biting and brilliant—if done right. (Frida picks up a wreath of flowers she uses in one of Hamlet's scenes.)
"Despite the evolving interpretations of her character, she’s still judged through a patriarchal lens. Feminist critiques have shed light on her complexities, but she hasn’t fully escaped the labels—' the evil witch,' 'the schemer.' Men fear her because she’s powerful, and women pity her because she’s tragic. Doesn’t that sound like a story worth revisiting?"
---
The Director: (leaning forward, intrigued despite himself)
"And how do you propose we revisit her? Surely not just another tragic monologue about guilt and bloodied hands?"
Frida: (playfully dramatic, holding an imaginary skull aloft)
"Why not? But with a twist. Shakespeare’s women—Portia, Emilia, Lady Macbeth—were written to challenge their worlds. Portia defies societal norms with her wit. Emilia demands to be heard at a time when women are told to stay silent. And Lady Macbeth? She was so desperate to break free from her confines that she asked to be 'unsexed.' Imagine her anguish, her ambition—she wanted to wield power in a world that only allowed men to hold it.
"Her invocation of spirits wasn’t witchcraft—it was rebellion. And her eventual madness wasn’t weakness—it was the system breaking her down."
---
The Director: (jotting notes, nodding)
"True, but wouldn’t this run the risk of becoming...a moral lecture? Theatregoers aren’t exactly lining up for feminist sermons."
Frida: (her eyes twinkling with mischief)
"Ah, but that’s where we add humour. Black humour. Imagine Lady Macbeth mocking the systems that destroyed her, not as a tragic villain but as a satirical force. Let the audience laugh at the absurdity of patriarchal fears. Then, when their laughter chokes in their throats, we hit them with the truth.” (Frida waved the floral wreath.)
"We don’t need to lecture. We let Lady Macbeth tell her story, but in a way that makes people squirm while they laugh. Better that than bore them with moral sermons."
---
The Director: (smiling reluctantly)
"And you think the audience will embrace her? A character with such a dark reputation?"
Frida: (leaning forward, her voice low and intense)
"Lady Macbeth’s reputation is precisely what makes her fascinating. She’s not just a villain; she’s a woman trapped by the time, love, and ambitions she adopted for survival. Her infamous lines, 'unsex me here,' weren’t about evil—they were a cry for freedom.
"Modern audiences can relate to that. Women still fight to be seen as more than 'schemers' or 'witches.' And let’s not forget the isolation she endured. No female friends, no allies—just her ambition and her guilt. In that loneliness, she mirrors so many women even today."
---
The Director: (sitting back, considering)
"So, you’re saying this could be more than a tragedy. It could empower women through its very reinterpretation?"
Frida: (nodding passionately)
"Exactly. Lady Macbeth isn’t just a cautionary tale—she’s a lesson in resilience. Her mistakes, her pain, her descent into madness—they’re not just hers. They belong to every woman told to stay silent and punished for wanting more.
"And imagine this: we add moments of triumph. Not for her as Shakespeare wrote her, but for her as she could be today. Let her confront her husband. Let her reclaim her identity. Let her find solidarity with the other women Shakespeare never gave her."
---
The Director: (grinning now, tapping his pen against his notebook)
"And how would you stage it? What tone? Tragedy? Drama? Surely not comedy?"
Frida: (laughing, throwing her hands up)
"Why not comedy? The best way to dismantle patriarchy is to laugh at its absurdities. Think of the ridiculous stereotypes: 'schemer,' 'witch,' 'devil queen.' Let the audience see how utterly laughable those labels are. But mix the humour with truth, so they leave the theatre thinking. Laughing at first, but haunted later."
(Frida stood up and raised the wreath of flowers in an exaggerated ceremonial manner, pretending it was a royal crown. She placed it on her head and mimicked a scene from the play—a scene Shakespeare never described, but one that occasionally appears in various productions.)
Frida:
"Come, you spirits
That tends on mortal thoughts, unsex me here,
And fill me from the crown to the toe top-full
Of direst cruelty."
The Director: "Is that how it went? I don’t recall that scene."
Frida: "Not exactly. The imagery of being 'filled from the crown to the toe' can be seen as a symbolic crowning of herself with the ambition and ruthlessness required to seize power.
If you're thinking of a moment where Lady Macbeth physically crowns herself, that’s more a director's interpretation. Many productions take creative liberties, sometimes staging her donning a crown to symbolise her aspirations. It’s a way to highlight her role in driving Macbeth toward kingship.”
---
The Director: (chuckling, shaking his head)
"You’re convincing me. But finding a writer who can pull this off—comedy that bites but doesn’t belittle—will be the real challenge."
Frida: (smirking, leaning back in her chair)
"Ah, but that’s your problem, querido. I bring the ideas. Now, are we doing this or not?"
---
(The Director stands, offering Frida a mock bow.)
The Director:
"How could I say no to ‘la Reina del Teatro’? Let’s do it. But you’ll have to share some blame when the critics start throwing tomatoes."
Frida: (grinning, picking up her floral crown and setting it on her head)
"Tomatoes? Let them come. I’ll make salsa."
They both laugh as the curtain falls on their conversation, the stage crew preparing for the evening’s performance humming in the background.
Jörgen Thornberg
A Crown of Ambition, 2024
Digital
70 x 100 cm
5 200 kr
A Crown of Ambition
“A Bitch Reborn
Upon the stage where shadows weave and dance,
There steps a figure, fierce in her advance.
No gentle maid, no silent, saintly dame,
But Frida, crowned in history’s scornful flame.
“A bitch!” they hiss, those whispers sharp with spite,
Yet she, unbowed, claims power as her right.
With flowers bright, her crown of thorns entwined,
She shapes a tale where boldness is redefined.
“Unsex me here!” she cries in Hamlet’s guise,
And dares the world to meet her steadfast eyes.
Not cruelty, but her will to shatter chains,
Through savage storms, she dances in her pains.
A Lady Macbeth reborn in Mexic hues,
With ruthless love, her art is the sharpest muse.
No spectral guilt can haunt her vibrant hand,
She wields her brush as queens command their land.
To schemers old, the label oft confined,
Yet Frida twists it, fierce and redefined.
The "witch," the "shrew," the woman cast aside,
Through her defiance, history's tides collide.
Oh, daring Frida, bold to tread this role,
A bitch, a hero, and a fractured soul.
Upon the boards where truth and lies entwine,
She dares the world to call her power divine.
Malmö, December 2024
A Crown of Ambition
Scene: Frida Kahlo’s Dressing Room, Nöjesteatern
(The room blends Frida’s vibrant aesthetic with theatrical props. Her makeup mirror casts a warm glow, and the air is heavy with the scent of flowers from her crown. The Director, dressed sharply but somewhat frazzled, sits across from Frida, holding a notebook and pen. Frida adjusts the vibrant flowers in her hair while gazing into the mirror.)
---
Frida: (leaning back, a sly grin spreading across her face)
"So, what do you think? Shall we dare tackle another play? This time, with a woman so divisive that even her name makes men shift in their seats."
The Director: (raising an eyebrow)
"And who would this formidable woman be? Lady Macbeth? (Frida nodded) Isn’t she a little...mossy? Or better suited for someone like Ingmar Bergman if he were still around?"
Frida: (laughing, shaking her head)
"Only if we leave her in the shadows where men have kept her for centuries. No, my dear director, Lady Macbeth is not a relic. She's a challenge. A symbol. Her story could be both biting and brilliant—if done right. (Frida picks up a wreath of flowers she uses in one of Hamlet's scenes.)
"Despite the evolving interpretations of her character, she’s still judged through a patriarchal lens. Feminist critiques have shed light on her complexities, but she hasn’t fully escaped the labels—' the evil witch,' 'the schemer.' Men fear her because she’s powerful, and women pity her because she’s tragic. Doesn’t that sound like a story worth revisiting?"
---
The Director: (leaning forward, intrigued despite himself)
"And how do you propose we revisit her? Surely not just another tragic monologue about guilt and bloodied hands?"
Frida: (playfully dramatic, holding an imaginary skull aloft)
"Why not? But with a twist. Shakespeare’s women—Portia, Emilia, Lady Macbeth—were written to challenge their worlds. Portia defies societal norms with her wit. Emilia demands to be heard at a time when women are told to stay silent. And Lady Macbeth? She was so desperate to break free from her confines that she asked to be 'unsexed.' Imagine her anguish, her ambition—she wanted to wield power in a world that only allowed men to hold it.
"Her invocation of spirits wasn’t witchcraft—it was rebellion. And her eventual madness wasn’t weakness—it was the system breaking her down."
---
The Director: (jotting notes, nodding)
"True, but wouldn’t this run the risk of becoming...a moral lecture? Theatregoers aren’t exactly lining up for feminist sermons."
Frida: (her eyes twinkling with mischief)
"Ah, but that’s where we add humour. Black humour. Imagine Lady Macbeth mocking the systems that destroyed her, not as a tragic villain but as a satirical force. Let the audience laugh at the absurdity of patriarchal fears. Then, when their laughter chokes in their throats, we hit them with the truth.” (Frida waved the floral wreath.)
"We don’t need to lecture. We let Lady Macbeth tell her story, but in a way that makes people squirm while they laugh. Better that than bore them with moral sermons."
---
The Director: (smiling reluctantly)
"And you think the audience will embrace her? A character with such a dark reputation?"
Frida: (leaning forward, her voice low and intense)
"Lady Macbeth’s reputation is precisely what makes her fascinating. She’s not just a villain; she’s a woman trapped by the time, love, and ambitions she adopted for survival. Her infamous lines, 'unsex me here,' weren’t about evil—they were a cry for freedom.
"Modern audiences can relate to that. Women still fight to be seen as more than 'schemers' or 'witches.' And let’s not forget the isolation she endured. No female friends, no allies—just her ambition and her guilt. In that loneliness, she mirrors so many women even today."
---
The Director: (sitting back, considering)
"So, you’re saying this could be more than a tragedy. It could empower women through its very reinterpretation?"
Frida: (nodding passionately)
"Exactly. Lady Macbeth isn’t just a cautionary tale—she’s a lesson in resilience. Her mistakes, her pain, her descent into madness—they’re not just hers. They belong to every woman told to stay silent and punished for wanting more.
"And imagine this: we add moments of triumph. Not for her as Shakespeare wrote her, but for her as she could be today. Let her confront her husband. Let her reclaim her identity. Let her find solidarity with the other women Shakespeare never gave her."
---
The Director: (grinning now, tapping his pen against his notebook)
"And how would you stage it? What tone? Tragedy? Drama? Surely not comedy?"
Frida: (laughing, throwing her hands up)
"Why not comedy? The best way to dismantle patriarchy is to laugh at its absurdities. Think of the ridiculous stereotypes: 'schemer,' 'witch,' 'devil queen.' Let the audience see how utterly laughable those labels are. But mix the humour with truth, so they leave the theatre thinking. Laughing at first, but haunted later."
(Frida stood up and raised the wreath of flowers in an exaggerated ceremonial manner, pretending it was a royal crown. She placed it on her head and mimicked a scene from the play—a scene Shakespeare never described, but one that occasionally appears in various productions.)
Frida:
"Come, you spirits
That tends on mortal thoughts, unsex me here,
And fill me from the crown to the toe top-full
Of direst cruelty."
The Director: "Is that how it went? I don’t recall that scene."
Frida: "Not exactly. The imagery of being 'filled from the crown to the toe' can be seen as a symbolic crowning of herself with the ambition and ruthlessness required to seize power.
If you're thinking of a moment where Lady Macbeth physically crowns herself, that’s more a director's interpretation. Many productions take creative liberties, sometimes staging her donning a crown to symbolise her aspirations. It’s a way to highlight her role in driving Macbeth toward kingship.”
---
The Director: (chuckling, shaking his head)
"You’re convincing me. But finding a writer who can pull this off—comedy that bites but doesn’t belittle—will be the real challenge."
Frida: (smirking, leaning back in her chair)
"Ah, but that’s your problem, querido. I bring the ideas. Now, are we doing this or not?"
---
(The Director stands, offering Frida a mock bow.)
The Director:
"How could I say no to ‘la Reina del Teatro’? Let’s do it. But you’ll have to share some blame when the critics start throwing tomatoes."
Frida: (grinning, picking up her floral crown and setting it on her head)
"Tomatoes? Let them come. I’ll make salsa."
They both laugh as the curtain falls on their conversation, the stage crew preparing for the evening’s performance humming in the background.
5 200 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