UT 223

80x80 CM

UT 228

80x80 CM

UT 2238

80X100 CM

UT 2236

60X80 CM

UT 2235

54X65 CM

UT 2237

60x80 CM

UT 2219

50X50 CM

UT 2223

50X50 CM

UT 2224

40X40CM

UT 2229

50X50CM

UT 2226

40X40CM

UT 2220

50X50CM

UT 2225

40X40CM

UT 2230

30X30CM

UT 2227

40X40CM

UT 2228

40X40CM

UT 2240

40X40CM

UT 2241

40X40CM

UT 2222

50X50CM

UT 2221

50X50CM

UNTITLED 2021

70X70CM

UNTITLED 2021

70X70CM

UNTITLED 2021

40X40CM

UNTITLED 2021

20X20CM

UNTITLED 2021

40X40CM

UNTITLED 2021

40X40CM

UNTITLED 2021

70X60CM

UNTITLED 2021

40X40CM

UNTITLED 2021

70X70CM

UNTITLED 2021

80X70CM

GREEN TRANSPARENCY 2019

100X100CM

DARK CROSSINGS 2019

100X100CM

WHITE CROSSINGS 2019

100X100CM

UNTITLED 2019

80X100CM

UNTITLED 2019

80X100CM

UNTITLED 2018

80X100CM

CRISPY SUNDAY 2019

80X100CM

UNTITLED 2018

77X60CM

UNTITLED 2018

100X80CM

A WINTER'S TALE 2018

100X100CM

OUT OF SEASON I 2018

70X60CM

OUT OF SEASON II 2018

70X60CM

DECOMPOSITION N0. 1 2019

70X70 CM

DECOMPOSITION N0. 2 2019

70X70 CM

DECOMPOSITION N0. 3 2019

70X70 CM

DECOMPOSITION N0. 4 2020

70X70 CM

DECOMPOSITION N0. 5 2020

70X70 CM

DECOMPOSITION N0. 6 2020

70X70 CM

DECOMPOSITION N0. 7 2020

70X70 CM

DECOMPOSITION N0. 8 2020

70X70 CM

DECOMPOSITION N0. 9 2020

70X70 CM

TOPOS #1 2018

60X70CM

TOPOS #2 2018

80X100CM

TOPOS #3 2018

60X70CM

TOPOS #4 2018

70X60CM

TOPOS #5 2018

60X70CM

TOPOS #6 2018

60X70CM

TOPOS #7 2018

60X70CM

TOPOS #8 2018

100X80CM

TOPOS #9 2018

60X70CM

TOPOS #10 2018

60X70CM

TOPOS #11 2018

70X60CM

TOPOS #12 2018

70X60CM

TOPOS #13 2018

100X100CM

TOPOS #14 2018

100X100CM

The Royal Academy

1976-1981

Svendborg Artschool

1995-1997

Teachers:

Jørgen Rosengaard

Viggo Salting

Tine Hind

Lene Leveau

Lene Degett

Hardy Ernst

101 artists 2019

Art critic at the danish newspaper "Jyllandsposten" and editor of the art journal "Kunstavisen" wrote about my paintings in the yearbook "101 kunstnere 2019:

An architect's sense of melancholy. This could be an appropriate headline for Preben Schubell's paintings.

The Architecture first. In all the paintings one finds a rigorous composition consisting mainly of horizontal and vertical lines, of rectangles and squares. A composition Preben Schubell must know at his fingertips as the educated architect he is. Many of the paintings can also resemble sections of houses with ceiling beams, terraces, walls and facades. The impression of order, balance and harmony prevails in these compositions in the same way as they do in the architect's floor plans.

Something, however, breaks this well thought out system of straight lines and right angles. Something that you will definitely not find in floor plans. In some of the surfaces, the color is graduated so that it is no longer uniform, but is “demolished". Elsewhere in the paintings, the tranquility is disturbed by asymmetric and disparate lines, by river-like structures and strange objects. If you think in figurative terms, the associations are obvious: moss, algae, branches and twigs, shrubs and trees put their organic imprint on the rigorous composition.

You sense nature's penetration into the man-made environment. Either as the shrubs and trees that are normally found in the garden or as the moss, lichen and weeds that gradually take over the structures of abandoned buildings. In the latter case, the paintings can be seen as a kind of memento mori: a reminder that everything must decay and die. Even the most magnificent structure built by the most skilled architect.

Preben Schubell's color scale supports the feeling of melancholy and abandonments, as it is characterized by autumn and winter colors. This should not necessarily be read in the way that we are dealing with a pessimistic artist. Melancholy does not always mean sadness. It can also be seen as an expression of a sensitive and delicate mind. At least that is the conclusion that the undersigned comes to. The paintings are at the same time disciplined and dreamy, precise and sensitive, well thought out and spontaneous.

And then one senses that they are completely and utterly passionate. Created by a professional who needs other ways of expressing himself. Trying, experimenting, sentient..... artistic.

Tom Jørgensen

Dansk originaltekst

En arkitekts fornemmelse for melankoli. Dette kunne være en passende overskrift for Preben Schubells malerier.

Arkitekturen først. I alle malerierne finder man en stram komposition bestående af hovedsageligt vandrette og lodrette linjer, af rektangler og kvadrater. En komposition, Preben Schubell må kende til fingerspidserne som den uddannede arkitekt, han er. Mange af malerierne kan da også ligne udsnit af huse med loftsbjælker, terrasser, mure og vinduesfacader. Indtrykket af orden, balance og harmoni hersker i disse kompositioner på samme måde, som de gør i arkitektens plantegninger.

Noget bryder imidlertid dette gennemtænkte system af lige linjer og rette vinkler. Noget, som man med hundrede procents sikkerhed ikke vil finde i plantegninger. I nogle af felterne er farven gradueret, så den ikke længere er ensartet, men præget af ”skjolder”. Andre steder i maleriene forstyrres roen af assymetriske og uensartede linjer, af flodlignende strukturer og mærkelige objekter. Tænker man i figurative baner, ligger associationerne lige til højrebenet: mos, alger, grene og kviste, buske og træer sætter deres organiske aftryk på den stramme komposition.

Man fornemmer naturens indtogsmarch i de menneskeskabte omgivelser. Enten som de buske og træer, der på helt normalt vis findes i haven eller som det mos, lav og ukrudt, der gradvist overtager strukturerne i forladte bygninger. I det sidste tilfælde kan man opfatte malerierne som en slags memento mori: en påmindelse om, at alt skal forfalde og dø. Selv det prægtigste bygningsværk bygget af den dygtigste arkitekt.

Preben Schubells farveskala underbygger fornemmelsen af melankoli og forladthed præget, som den er, af efterårs- og vinterfarver. Dette skal ikke nødvendigvis læses sådan, at vi har med en pessimistisk kunstner at gøre. Melankoli er ikke altid ensbetydende med tristhed. Man kan også opfatte den som udtryk for et sensitivt og fintfølende sind. Det er i hvert fald den konklusion, undertegnede kommer frem til. Malerierne er på én gang disciplinerede og drømmende, præcise og følsomme, velovervejede og spontane.

Og så fornemmer man, at de er helt og aldeles lystbetonede. Skabt af en fagmand, som har brug for andre måder at udtrykke sig på. Prøvende, eksperimenterende, følende.....kunstneriske.

Tom Jørgensen