Vi använder cookies för att ge dig bästa möjliga upplevelse. Välj vilka cookies du tillåter.
Läs mer i vår integritetspolicy
Jörgen Thornberg
Feliz Navidad, 2025
Digital
50 x 70 cm
3 200 kr
Feliz Navidad
Feliz Navidad
Merry Christmas
God Jul
Joyeux Noël
Frohe Weihnachten
Buon Natale
Feliz Natal
Veselé Vánoce
Vrolijk Kerstfeest
Wesołych Świąt
Boldog Karácsonyt
Crăciun Fericit
Kala Christougenna
Sretan Božić
Veselé Vianoce
Gëzuar Krishtlindjet
С Рождеством
聖誕快樂
メリークリスマス
메리 크리스마스
Nollaig Shona
Hyvää Joulua
Gleðileg Jól
Καλά Χριστούγεννα
Selamat Hari Natal
Here starts my story, so please read my essay.
“Sankta Lucia
From desert night to snowbound northern shore,
A single wish takes flight in countless tongues;
By candle, drum, and bell, by hearth and door,
It circles the Earth on softly travelling lungs.
In crowded streets, it laughs with spiced delight,
In quiet rooms, it breathes a gentler grace;
It glows in markets bright against the night,
And warms the hands that pass from face to face.
Where palms replace the pine, where frost is king,
The same old hope finds ever-changing dress;
In broken years it dares itself to sing,
In fuller ones, it learns a tenderness.
One heart, one vow, through every time and place:
To meet the dark with light, the world with grace.
From desert dusk to cities crowned with snow,
A thousand voices shape one tender plea;
In drums and bells the ancient rhythms flow,
By firelit doors and streets of reverie.
Some feast in heat where mango scents the air,
Some hush their breath where frozen stars align;
Yet everywhere the wish is almost bare:
That life endure, that sorrow may resign.
It walks through markets, bright with spice and sound,
And slips indoors where silence learns to stay;
It binds the lost, the broken, and the found,
And teaches hope to speak in human clay.
At Casa Azul, where pain and colour blend,
Frida keeps Christmas: life—defiant—unbent.
Yet there are rooms where birth is edged with pain,
Where colour stands against a failing frame;
Where laughter comes despite the bandaged strain,
And celebration wears a wounded name.
In blue-walled light, with flowers red as blood,
The table gathers bodies, flawed yet near.
Here Christmas lives, not promised, but withstood—
A stubborn feast of presence, held together here.”
Malmö, December 2025
Feliz Navidad - Frida Kahlo, Christmas, and the Blue House
Christmas in Frida Kahlo's life was shaped by her personal experiences of pain, laughter, and contradiction, reflecting her resilience and complex identity. Exploring how her physical and emotional pain influenced her Christmas symbolism can help readers connect more deeply with her story and appreciate her strength.
For Frida Kahlo, Christmas was never an escape from reality. It was a confrontation with it. In Mexico, Christmas is not quiet or pale. It is loud, physical, aromatic, saturated with colour and food, and filled with people who come and go without invitation. It is a celebration rooted as much in pre-Columbian cycles of life and death as in Catholic theology. That fusion suited Frida perfectly. Her entire existence unfolded at the crossroads of belief systems, identities, and bodies under pressure.
Casa Azul was the true stage for Frida’s Christmas. The house itself was more than a home; it was a living symbol of community, holding together generations, ideologies, illnesses, animals, lovers, children, and revolutionaries. During Christmas, it fostered a sense of belonging and collective resilience among all present.
The Catholic elements of Christmas were never denied, but they were never allowed to dominate. In Frida’s world, the Virgin Mary coexisted with ancient mother goddesses; the birth of Christ resonated with older narratives of sacrifice, regeneration, and bodily endurance. Christmas became a testament to survival, reminding us that birth is often violent, necessary, and sacred because of its cost.
Pain accompanied her through most winters. Many of Frida’s surgeries, relapses, and long periods of immobility occurred during the colder months. Christmas was often celebrated from her bed, surrounded by corsets, bandages, medicine, and carefully arranged objects that turned suffering into ritual. Her insistence on celebrating-through eating, laughing, hosting, and decorating-showed that life persists despite pain, inspiring resilience.
The collective spirit of Christmas at Casa Azul reinforced this sense of community and strength. Diego loved abundance, spectacle, and the presence of children. Christmas was a communal rather than a bourgeois celebration—political discussions mixed with jokes; arguments with music; tenderness with excess. The act of gathering, more than gifts, fostered unity and shared purpose among all present.
Visually, the season aligned seamlessly with Frida’s palette. The deep reds and greens of Mexican Christmas decorations, especially the poinsettia—Nochebuena—echo the colours that pulse through her paintings. Detailing the cultural importance of these symbols can help readers better understand their role in Kahlo's personal and cultural expression.
Although Frida never painted traditional Christmas scenes, her work is deeply authentic, saturated with themes of vulnerability, sacrifice, family, rebirth, and persistence-elements that also shaped her Christmas celebrations. Citing specific paintings or symbols that embody these themes can help readers see her art as a reflection of her holiday experience and cultural identity.
If Frida had painted Santa Claus, he would not have floated across the sky. He would have been seated heavily, earthbound, surrounded by animals and objects, bearing wounds and history. He would have belonged to Casa Azul, which becomes the Christmas figure—a shelter holding together what is broken, generous without purity, festive without denial, symbolising her cultural and personal sanctuary.
For Frida Kahlo, Christmas was not about forgetting pain. It was about insisting on community within it, inspiring viewers to find resilience and hope in their own traditions. Framing Christmas as an act of endurance can deepen the audience's feelings of perseverance and shared strength.
In this way, Frida’s Christmas remains radical. It rejects idealised happiness and embraces shared existence. It tells us that celebration is not the absence of suffering but the decision to gather anyway.
Jörgen Thornberg
Feliz Navidad, 2025
Digital
50 x 70 cm
3 200 kr
Feliz Navidad
Feliz Navidad
Merry Christmas
God Jul
Joyeux Noël
Frohe Weihnachten
Buon Natale
Feliz Natal
Veselé Vánoce
Vrolijk Kerstfeest
Wesołych Świąt
Boldog Karácsonyt
Crăciun Fericit
Kala Christougenna
Sretan Božić
Veselé Vianoce
Gëzuar Krishtlindjet
С Рождеством
聖誕快樂
メリークリスマス
메리 크리스마스
Nollaig Shona
Hyvää Joulua
Gleðileg Jól
Καλά Χριστούγεννα
Selamat Hari Natal
Here starts my story, so please read my essay.
“Sankta Lucia
From desert night to snowbound northern shore,
A single wish takes flight in countless tongues;
By candle, drum, and bell, by hearth and door,
It circles the Earth on softly travelling lungs.
In crowded streets, it laughs with spiced delight,
In quiet rooms, it breathes a gentler grace;
It glows in markets bright against the night,
And warms the hands that pass from face to face.
Where palms replace the pine, where frost is king,
The same old hope finds ever-changing dress;
In broken years it dares itself to sing,
In fuller ones, it learns a tenderness.
One heart, one vow, through every time and place:
To meet the dark with light, the world with grace.
From desert dusk to cities crowned with snow,
A thousand voices shape one tender plea;
In drums and bells the ancient rhythms flow,
By firelit doors and streets of reverie.
Some feast in heat where mango scents the air,
Some hush their breath where frozen stars align;
Yet everywhere the wish is almost bare:
That life endure, that sorrow may resign.
It walks through markets, bright with spice and sound,
And slips indoors where silence learns to stay;
It binds the lost, the broken, and the found,
And teaches hope to speak in human clay.
At Casa Azul, where pain and colour blend,
Frida keeps Christmas: life—defiant—unbent.
Yet there are rooms where birth is edged with pain,
Where colour stands against a failing frame;
Where laughter comes despite the bandaged strain,
And celebration wears a wounded name.
In blue-walled light, with flowers red as blood,
The table gathers bodies, flawed yet near.
Here Christmas lives, not promised, but withstood—
A stubborn feast of presence, held together here.”
Malmö, December 2025
Feliz Navidad - Frida Kahlo, Christmas, and the Blue House
Christmas in Frida Kahlo's life was shaped by her personal experiences of pain, laughter, and contradiction, reflecting her resilience and complex identity. Exploring how her physical and emotional pain influenced her Christmas symbolism can help readers connect more deeply with her story and appreciate her strength.
For Frida Kahlo, Christmas was never an escape from reality. It was a confrontation with it. In Mexico, Christmas is not quiet or pale. It is loud, physical, aromatic, saturated with colour and food, and filled with people who come and go without invitation. It is a celebration rooted as much in pre-Columbian cycles of life and death as in Catholic theology. That fusion suited Frida perfectly. Her entire existence unfolded at the crossroads of belief systems, identities, and bodies under pressure.
Casa Azul was the true stage for Frida’s Christmas. The house itself was more than a home; it was a living symbol of community, holding together generations, ideologies, illnesses, animals, lovers, children, and revolutionaries. During Christmas, it fostered a sense of belonging and collective resilience among all present.
The Catholic elements of Christmas were never denied, but they were never allowed to dominate. In Frida’s world, the Virgin Mary coexisted with ancient mother goddesses; the birth of Christ resonated with older narratives of sacrifice, regeneration, and bodily endurance. Christmas became a testament to survival, reminding us that birth is often violent, necessary, and sacred because of its cost.
Pain accompanied her through most winters. Many of Frida’s surgeries, relapses, and long periods of immobility occurred during the colder months. Christmas was often celebrated from her bed, surrounded by corsets, bandages, medicine, and carefully arranged objects that turned suffering into ritual. Her insistence on celebrating-through eating, laughing, hosting, and decorating-showed that life persists despite pain, inspiring resilience.
The collective spirit of Christmas at Casa Azul reinforced this sense of community and strength. Diego loved abundance, spectacle, and the presence of children. Christmas was a communal rather than a bourgeois celebration—political discussions mixed with jokes; arguments with music; tenderness with excess. The act of gathering, more than gifts, fostered unity and shared purpose among all present.
Visually, the season aligned seamlessly with Frida’s palette. The deep reds and greens of Mexican Christmas decorations, especially the poinsettia—Nochebuena—echo the colours that pulse through her paintings. Detailing the cultural importance of these symbols can help readers better understand their role in Kahlo's personal and cultural expression.
Although Frida never painted traditional Christmas scenes, her work is deeply authentic, saturated with themes of vulnerability, sacrifice, family, rebirth, and persistence-elements that also shaped her Christmas celebrations. Citing specific paintings or symbols that embody these themes can help readers see her art as a reflection of her holiday experience and cultural identity.
If Frida had painted Santa Claus, he would not have floated across the sky. He would have been seated heavily, earthbound, surrounded by animals and objects, bearing wounds and history. He would have belonged to Casa Azul, which becomes the Christmas figure—a shelter holding together what is broken, generous without purity, festive without denial, symbolising her cultural and personal sanctuary.
For Frida Kahlo, Christmas was not about forgetting pain. It was about insisting on community within it, inspiring viewers to find resilience and hope in their own traditions. Framing Christmas as an act of endurance can deepen the audience's feelings of perseverance and shared strength.
In this way, Frida’s Christmas remains radical. It rejects idealised happiness and embraces shared existence. It tells us that celebration is not the absence of suffering but the decision to gather anyway.
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