We immediately recognize, both in the frame and in the palette, the approach of this Swede who established himself through a practice of color and a radical point of view that he first experimented with in his country. Coming from the tradition of the press and black and white reporting for daily newspapers, he took a critical look at his country and his contemporaries and, by dint of making us laugh, the comedy of Landet utom sig Ed. Journal, 1993 became depressing. The world of consumption and leisure, placed in the devastating perspective of a rare ability to detect the absurdity of situations and behaviors, was translated in a burst of colors which added to the biting irony of the whole. A shoddy universe, looked at with a critical sense devoid of malice, sent us back to all the derisions. This approach, which has been refined over the years, had learned the lessons of the great American colorists who, in the 1970s, imposed the fact that color, in photography, was not only a technical possibility that was increasingly effective in the restitution of the "truth" of reality but rather a material of photography and that it was necessary to compose in all senses of the term with it. Lars Tunbjörk is very clearly part of the logic of this revolution of colorists across the Atlantic. He arrives later, continues the process by confronting color in the most direct way possible, and he is European.

Extract from the text by Christian Caujolle