"The Light Bearer"
“Let there be light,” that’s how it all began according to the Bible. And without darkness there is no light. “From
darkness we rise towards the light. . . ” it says, for example, in the lnternational. Light is a prerequisite for life.
And light is of course also a prerequisite for art. People talk about the light in Skagen,
for PS Kröyer and his contemporaries like Oscar Björk, the Swede. They talk about the light in Österlen
and on Öland. Constantly this light.

Louise Hävre, born in Östergötland but a painter in her studio on northern Öland, knows well the great importance of light and expresses it herself like this:

"A large part of the inspiration comes from the light's shifts in shape and color, contrast and the impact of color."

But there is not only an external, tangible light. But also an internal light. And this is what Louise Hävre is fascinated by. It is a very white, intense light. Almost blinding - like a revelation. Like when the three wise men saw the big star over Bethlehem. And so you read in her CV that she paints in oil, acrylic and encaustic. Encaustic is the ancient Egyptian way of painting using wax, and this painting method is mainly found in early portraits. And since it is about Egypt, one immediately associates it with Akhenaten, the one who worshipped the sun, the foremost champion of light. And in connection with wax, who does not remember Ikaros
whose waxed wings were melted by the sun.

So the blinding light is not only an asset but also a threat to innovation and art itself. It takes sensitivity, empathy and understanding to harness this wonderful medium.Louise Hävre has a foundation of thoughtfulness and compassion in her personality that gives extra depth to her art. She says that when she received the gift of painting, “she wanted to share it with people who are having a hard time.”

She also says:
“Early in life I discovered a connection and attraction to self-chosen solitude and I am fascinated by analyzing all aspects and components of life. . .” She seeks truth and wisdom, she has an inherent philosophical and contemplative side. These are important base colors to have on the “palette of life” and when you look at paintings like “The Life Way” and “Compromise” you understand her desire to reach out to the viewer and convey “harmony and joy”.

The collage technique is also an important part of her artistry. And in collage there is an overall opportunity to link different perspectives, transitions and bridges. Things that we need in everyday life, between people, between countries, for the good of all. So don't say that art is unimportant, that it doesn't play any role. Art is necessary and Louise Hävre has emphatically proven nationally and internationally that she defends that thesis."

Hans Janstad
Member of the International Association of Art Critics (AICA)

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