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Jörgen Thornberg
Yellow Stilettos, 2025
Digital
50 x 70 cm
3 200 kr
Yellow Stilettos
Approach with caution! A woman in stilettos may walk tall, but everyone around her should tread carefully. Not because she’s unstable, though the physics involved might suggest otherwise, but because each step she takes is a declaration. Of intent. Of confidence. Of danger, even. The stiletto heel, slender as a whisper, sharp as a threat, commands the room before she ever speaks a word. It's a weapon with plausible deniability, a potential danger that demands respect.
Think you’re watching her? She’s already measured you. Judged your posture, your footing, your weakness. And should she pivot sharply on those nineteen centimetres of golden defiance, you might find your pride–or your toes–skewered without warning. It's her ability to assess and react that demands both admiration and caution.
So yes. Approach with caution. You may survive the encounter. But the memory of it will linger, a testament to the power of a woman in stilettos.
“Klara’s Killer Heels
She used them first for walking tall,
To strut her stuff through the shopping mall.
But heels, she learned, are so much more—
A toolkit hidden in couture.
They clicked like castanets in rage,
A metronome on the power’s stage.
For the catwalk? Sure. For war? Perhaps.
To stomp out lies and smirk at chaps.
In queues, they poked the backs of their knees
Of men too slow or quick to tease.
At fancy bars, two well-timed taps
It could make a man drop both his apps
And his disguise—no second date
With someone armed with a four-inch fate.
At meetings, when the air grew thick
With mansplained charts and a PowerPoint click,
She’d dangle one heel from her toe—
A warning sign, like: “One more blow…”
She never aimed to cause distress,
But once they saved her from a mess.
A mugger lunged—she lost no grace,
Just planted heel in softest place.
So if you think they’re just for show,
Klara’s heels would like you to know:
They lift, they strike, they hold their ground—
The sharpest thing for miles around.
And when he dared to manspread wide,
She stepped once, left, then heel to the side.
He gasped, betrayed—his ego through:
“Et tu, Klara? In stilettos, too?”
Malmö May 2025
Yellow Stilettos – Death, Desire and the Art of Walking Tall
Klara was, in spirit if not in lineage, a descendant of Elvira Madigan – not through circus bloodlines or tragic love affairs, but through her fearless defiance of death. There was no Lieutenant Sparre in her life, no brooding man with debts and delusions. Klara was self-sufficient, a real estate agent specialising in Västra Hamnen, and she lived on the twentieth floor of the Turning Torso. The building rose above Malmö like a coiled titan, twisting into the clouds with the self-confidence of a monument that knew its symbolism.
To walk in stilettos – particularly the kind Klara wore that day, narrow as a nail and tall as a lie – is not unlike walking on stilts or dancing on a high wire. It requires courage, balance, and a touch of healthy delusion. But Klara was no tightrope walker from Circus Madigan. She had no parasol to keep her upright, only a patterned blue handbag, swinging like an untrustworthy metronome as she click-clacked her way across the cobblestones towards the foot of the great tower. The Torso itself seemed to tilt its head and sneer, mocking her attempt to meet its height heel-to-floor. Her stilettos rang out like gunshots on the pavement, each step a duel with gravity. She wobbled, yes—but she did not fall. She was not Elvira. She carried her fate with lipstick, poise, and a moderate risk of ankle dislocation.
Some say stiletto heels are shaped after daggers for a reason. It’s a weapon for the elegant, the desperate, and the invincible. The original stiletto – from the Latin stilus – was a needle-like blade, narrow all the way through, designed not to slash but to pierce. The modern heel borrowed the name but reversed the function: no longer a weapon wielded, but one worn, piercing the sky rather than the heart, captivating with its beauty and elegance.
Yet danger remains. At least one person has reportedly died from a stiletto heel used as a weapon – a woman in Texas stabbed her boyfriend to death with her shoe in a fit of rage. A tragic case, but Klara had other kinds of drama in her life. Her heels, despite their weapon-grade architecture, were not bloodied; they were tax-deductible.
She wore the colours of Skåne – a red jacket and yellow shoes, like a walking flag with attitude. She moved through the city as if auditioning for a part no one had written yet, and Malmö, for all its rain and reason, was briefly enchanted. People stared—some with concern, others with awe. One cyclist nearly rode into a bench. A child tugged at her mother’s coat and whispered, “Is she a queen?” The mother replied, “No, just a very tall woman.”
Klara turned heads not because of what she said, but how she walked – as if nothing could touch her unless she let it. As if the uneven flagstones were a runway, as if her hand-painted bag was a sceptre, and her hair a comet made flesh. She lived above the clouds, but not in them.
She had weathered one real estate crash, three toxic relationships, and even a rogue drone that once snatched her scarf mid-flight on the twenty-third-floor balcony. Klara’s resilience, her ability to bounce back from adversity, was not just a testament to her strength but a beacon of inspiration for those who knew her story.
It’s said that women wear stilettos for men, but Klara knew better. She wore them for the view. Klara's 19-centimetre stilettos measured exactly one promille of the Turning Torso’s 190-metre height. One promille – but what a promille! Her choice of stilettos was not just a fashion statement, but a powerful symbol of her determination and her focus on her own goals, rather than societal expectations.
So if you see her swaying like a skyscraper in the wind, remember: this is a woman whose life points upwards. Her weapons are lacquered, her balance a prayer, and each step she takes is a defiant little miracle.
Even though Klara wasn’t consciously thinking about the fact that she was strutting on a potential weapon, she was an educated woman and well aware of the world’s most famous stabbing – the assassination of Julius Caesar, which may very well have involved a dagger not unlike the later Italian stiletto. Though the weapon known as the “stiletto” wouldn’t be formally named until the Middle Ages, its spirit was already alive and well in antiquity. Thin, tapered, and designed for precision, stilettos were born for close contact – betrayal within a handshake’s reach.
Consider Brutus. His weapon must have been slim and silent, more needle than knife, and easy to hide inside his sleeve. Possibly. Ancient Rome was no stranger to sophisticated metallurgy and cunning designs. Even further back, Tutankhamun was buried with an iron dagger made of meteorite, forged not from Earth, but from the stars, over 3,300 years ago. Its narrow point and gleaming surface resemble nothing so much as a ceremonial stiletto, crafted for kings… or killers.
So, while the stiletto, as a named weapon, may trace its lineage to Renaissance Italy, its ancestors can be found in the tombs of pharaohs, the folds of Roman togas, and on the feet of modern women. This historical journey of the stiletto is a fascinating revelation, shedding light on its enduring allure and power.
By the way, the word stiletto comes from the Italian stiletto, a diminutive of stilo – “dagger” or “stylus” – itself rooted in the Latin stilus: a pointed writing instrument once used to scratch letters into wax tablets. The shape told the story. Long, thin, and sharp, the original stiletto dagger was not designed for slashing but for piercing – slipping through gaps in armour, ribcages, and reputations. It was a whisper of a weapon, elegant and cruel, favoured by assassins who needed precision more than force.
Centuries later, the name returned – not to the battlefield, but to the catwalk. When Italian designer Roger Vivier introduced the modern high-heel stiletto in the 1950s, the metaphor was irresistible. The heel was slim as a blade, seductive as danger. Like its namesake, it could strike without warning, leave a mark, and tip the balance of power with a single step. The stiletto's design, elegant and dangerous, was a powerful allure, a weapon of allure rather than blood, though not without casualties. Its design, with its perilous allure, is sure to captivate the audience.
No wonder they called it a stiletto. It wasn’t just a shoe; it was a warning.
Jörgen Thornberg
Yellow Stilettos, 2025
Digital
50 x 70 cm
3 200 kr
Yellow Stilettos
Approach with caution! A woman in stilettos may walk tall, but everyone around her should tread carefully. Not because she’s unstable, though the physics involved might suggest otherwise, but because each step she takes is a declaration. Of intent. Of confidence. Of danger, even. The stiletto heel, slender as a whisper, sharp as a threat, commands the room before she ever speaks a word. It's a weapon with plausible deniability, a potential danger that demands respect.
Think you’re watching her? She’s already measured you. Judged your posture, your footing, your weakness. And should she pivot sharply on those nineteen centimetres of golden defiance, you might find your pride–or your toes–skewered without warning. It's her ability to assess and react that demands both admiration and caution.
So yes. Approach with caution. You may survive the encounter. But the memory of it will linger, a testament to the power of a woman in stilettos.
“Klara’s Killer Heels
She used them first for walking tall,
To strut her stuff through the shopping mall.
But heels, she learned, are so much more—
A toolkit hidden in couture.
They clicked like castanets in rage,
A metronome on the power’s stage.
For the catwalk? Sure. For war? Perhaps.
To stomp out lies and smirk at chaps.
In queues, they poked the backs of their knees
Of men too slow or quick to tease.
At fancy bars, two well-timed taps
It could make a man drop both his apps
And his disguise—no second date
With someone armed with a four-inch fate.
At meetings, when the air grew thick
With mansplained charts and a PowerPoint click,
She’d dangle one heel from her toe—
A warning sign, like: “One more blow…”
She never aimed to cause distress,
But once they saved her from a mess.
A mugger lunged—she lost no grace,
Just planted heel in softest place.
So if you think they’re just for show,
Klara’s heels would like you to know:
They lift, they strike, they hold their ground—
The sharpest thing for miles around.
And when he dared to manspread wide,
She stepped once, left, then heel to the side.
He gasped, betrayed—his ego through:
“Et tu, Klara? In stilettos, too?”
Malmö May 2025
Yellow Stilettos – Death, Desire and the Art of Walking Tall
Klara was, in spirit if not in lineage, a descendant of Elvira Madigan – not through circus bloodlines or tragic love affairs, but through her fearless defiance of death. There was no Lieutenant Sparre in her life, no brooding man with debts and delusions. Klara was self-sufficient, a real estate agent specialising in Västra Hamnen, and she lived on the twentieth floor of the Turning Torso. The building rose above Malmö like a coiled titan, twisting into the clouds with the self-confidence of a monument that knew its symbolism.
To walk in stilettos – particularly the kind Klara wore that day, narrow as a nail and tall as a lie – is not unlike walking on stilts or dancing on a high wire. It requires courage, balance, and a touch of healthy delusion. But Klara was no tightrope walker from Circus Madigan. She had no parasol to keep her upright, only a patterned blue handbag, swinging like an untrustworthy metronome as she click-clacked her way across the cobblestones towards the foot of the great tower. The Torso itself seemed to tilt its head and sneer, mocking her attempt to meet its height heel-to-floor. Her stilettos rang out like gunshots on the pavement, each step a duel with gravity. She wobbled, yes—but she did not fall. She was not Elvira. She carried her fate with lipstick, poise, and a moderate risk of ankle dislocation.
Some say stiletto heels are shaped after daggers for a reason. It’s a weapon for the elegant, the desperate, and the invincible. The original stiletto – from the Latin stilus – was a needle-like blade, narrow all the way through, designed not to slash but to pierce. The modern heel borrowed the name but reversed the function: no longer a weapon wielded, but one worn, piercing the sky rather than the heart, captivating with its beauty and elegance.
Yet danger remains. At least one person has reportedly died from a stiletto heel used as a weapon – a woman in Texas stabbed her boyfriend to death with her shoe in a fit of rage. A tragic case, but Klara had other kinds of drama in her life. Her heels, despite their weapon-grade architecture, were not bloodied; they were tax-deductible.
She wore the colours of Skåne – a red jacket and yellow shoes, like a walking flag with attitude. She moved through the city as if auditioning for a part no one had written yet, and Malmö, for all its rain and reason, was briefly enchanted. People stared—some with concern, others with awe. One cyclist nearly rode into a bench. A child tugged at her mother’s coat and whispered, “Is she a queen?” The mother replied, “No, just a very tall woman.”
Klara turned heads not because of what she said, but how she walked – as if nothing could touch her unless she let it. As if the uneven flagstones were a runway, as if her hand-painted bag was a sceptre, and her hair a comet made flesh. She lived above the clouds, but not in them.
She had weathered one real estate crash, three toxic relationships, and even a rogue drone that once snatched her scarf mid-flight on the twenty-third-floor balcony. Klara’s resilience, her ability to bounce back from adversity, was not just a testament to her strength but a beacon of inspiration for those who knew her story.
It’s said that women wear stilettos for men, but Klara knew better. She wore them for the view. Klara's 19-centimetre stilettos measured exactly one promille of the Turning Torso’s 190-metre height. One promille – but what a promille! Her choice of stilettos was not just a fashion statement, but a powerful symbol of her determination and her focus on her own goals, rather than societal expectations.
So if you see her swaying like a skyscraper in the wind, remember: this is a woman whose life points upwards. Her weapons are lacquered, her balance a prayer, and each step she takes is a defiant little miracle.
Even though Klara wasn’t consciously thinking about the fact that she was strutting on a potential weapon, she was an educated woman and well aware of the world’s most famous stabbing – the assassination of Julius Caesar, which may very well have involved a dagger not unlike the later Italian stiletto. Though the weapon known as the “stiletto” wouldn’t be formally named until the Middle Ages, its spirit was already alive and well in antiquity. Thin, tapered, and designed for precision, stilettos were born for close contact – betrayal within a handshake’s reach.
Consider Brutus. His weapon must have been slim and silent, more needle than knife, and easy to hide inside his sleeve. Possibly. Ancient Rome was no stranger to sophisticated metallurgy and cunning designs. Even further back, Tutankhamun was buried with an iron dagger made of meteorite, forged not from Earth, but from the stars, over 3,300 years ago. Its narrow point and gleaming surface resemble nothing so much as a ceremonial stiletto, crafted for kings… or killers.
So, while the stiletto, as a named weapon, may trace its lineage to Renaissance Italy, its ancestors can be found in the tombs of pharaohs, the folds of Roman togas, and on the feet of modern women. This historical journey of the stiletto is a fascinating revelation, shedding light on its enduring allure and power.
By the way, the word stiletto comes from the Italian stiletto, a diminutive of stilo – “dagger” or “stylus” – itself rooted in the Latin stilus: a pointed writing instrument once used to scratch letters into wax tablets. The shape told the story. Long, thin, and sharp, the original stiletto dagger was not designed for slashing but for piercing – slipping through gaps in armour, ribcages, and reputations. It was a whisper of a weapon, elegant and cruel, favoured by assassins who needed precision more than force.
Centuries later, the name returned – not to the battlefield, but to the catwalk. When Italian designer Roger Vivier introduced the modern high-heel stiletto in the 1950s, the metaphor was irresistible. The heel was slim as a blade, seductive as danger. Like its namesake, it could strike without warning, leave a mark, and tip the balance of power with a single step. The stiletto's design, elegant and dangerous, was a powerful allure, a weapon of allure rather than blood, though not without casualties. Its design, with its perilous allure, is sure to captivate the audience.
No wonder they called it a stiletto. It wasn’t just a shoe; it was a warning.
3 200 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