Liss Eriksson

"Violoncellen" was one of the sculptures born out of the work on the ‘Huset’, although it was replaced by the ‘Klarinetten'. It is one of Liss's few works with a literary connection, but, it must be emphasised, literature has served as a driving force for a plastic formulation, not as an excuse. On his return from France, he reread Erik Blomberg's poem "Violoncellen" in the collection "Nattens ögon", 1943 [...].
‘Only now did I really understand the meaning - it corresponded to my impressions and experiences - it became part of myself - and finally a theme that required a plastic form.
The first attempt was made in 1955, but then the theme was put on ice until the early 1960s, when the Statens Konstråd - Public Art Agency Sweden asked for a proposal for the decoration of the telephone exchange in Farsta. At that time he again produced the small sketch for the "Violoncellen", which he thought was a good contrast to the architectural environment. Liss Eriksson thought that the sculpture alone and in itself could form an effective room. Architect Bengt Hidemark, who took the initiative to invite Liss Eriksson, was enthusiastic. And the representative of the Statens Konstråd, Arne Jones, was also positive, but added that "a lot will happen with it".
‘Yes, it did! Liss Eriksson exclaims in her notes: ‘It started with a lot of drawing at concerts where cellists participated - Erling Bløndal Bengtsson in particular captivated me - his proportions - his height - his expressive, dramatic movements and facial expressions. A cello was acquired and carefully modelled - models posed playing the instrument - a stereo system was installed in the studio - Pablo Casal's Bach suites then supported me throughout the working period.
After dozens of pre-studies, Liss Eriksson came up with something that fulfilled his intentions. The cellist creates a rhythmic space around his instrument. There is an arching line that I think is comparable to the long lines in Bach's cello suites. It has to do with counterpoint, rhythm and closed form. In 1965, the cello was installed at Televerket in Farsta. ‘He seems to like it there’, comments Liss Eriksson, ’- but every now and then I borrow him for exhibitions. He has even sat and played in the garden of the Rodin Museum in Paris’ (Millroth p. 108-112).