Erik Johansson (1985) is a Swedish-born artist based in Prague who creates surreal images by recombining photographs and other materials. He captures ideas by combining images in new ways to create what looks like a real photograph, yet with logical inconsistencies to impart an effect of surrealism. Some finished images are the combination of "hundreds of original photographs" as well as raw materials, and Johansson spends dozens of hours using image manipulation software such as Adobe Photoshop to alter the image digitally and to illustrate his idea.
To Erik it's always important with a high level of realism in his work. He want's the viewer to feel like they are part of the scene, to relate to it. Although his work consists of a lot of work in post-production and combining photogaphs he always tries to capture as much as possible in camera. "No one can tell you that it doesn’t look realistic if you actually captured it for real."
Light and perspective are crucial parts when combining images in a realistic way and if some parts are not possible to shoot on location, a similar scene has to be built up in a controlled environment. Having an understanding of both photography and post production is very important to make everything come together seamlessly. Every photograph and part has its purpose.
Erik always do all the post production himself to be in complete control of the end result. The idea, photography and post production are all connected. The final image doesn’t become better than the photographs used to capture it. Just like the photographs don’t become stronger than the idea.
There are no computer generated-, illustrated- or stock photos in Erik's personal work, just complex combinations of his own photographs. It's a long process and he only creates 6-8 new images a year (excluding commissioned work)
© 2017. All images are copyrighted © by Erik Johansson. The use of any image from this site is prohibited unless prior written permission from the artist is obtained.
To Erik it's always important with a high level of realism in his work. He want's the viewer to feel like they are part of the scene, to relate to it. Although his work consists of a lot of work in post-production and combining photogaphs he always tries to capture as much as possible in camera. "No one can tell you that it doesn’t look realistic if you actually captured it for real."
Light and perspective are crucial parts when combining images in a realistic way and if some parts are not possible to shoot on location, a similar scene has to be built up in a controlled environment. Having an understanding of both photography and post production is very important to make everything come together seamlessly. Every photograph and part has its purpose.
Erik always do all the post production himself to be in complete control of the end result. The idea, photography and post production are all connected. The final image doesn’t become better than the photographs used to capture it. Just like the photographs don’t become stronger than the idea.
There are no computer generated-, illustrated- or stock photos in Erik's personal work, just complex combinations of his own photographs. It's a long process and he only creates 6-8 new images a year (excluding commissioned work)
© 2017. All images are copyrighted © by Erik Johansson. The use of any image from this site is prohibited unless prior written permission from the artist is obtained.
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| Erik Johansson |
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| 2007, Lazy Dog |
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| 2008, Arms Break, Vases Don't |
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| 2008, Go Your Own Road |
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| 2009, Deep cuts |
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| 2009, Fishy Island |
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| 2009, Vertical Turn |
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| 2009, Zip City |
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| 2010, Impossible escape |
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| 2011, Fresh frozen fish |
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| 2011, Reverberate |
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| 2012, Cut & Fold |
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| 2012, Electric Guitar |
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| 2012, End of Line |
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| 2012, Groundbreaking |
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| 2012, Reverse Oposites |
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| 2012, Snow Cover |
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| 2013, Diamond in the rough |
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| 2013, Drifting away |
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| 2013, Expecting Winter |
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| 2013, Let's Leave |
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| 2013, Roadworker's coffee break |
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| 2013, The cover up |
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| 2014, closing out |
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| 2014, Don't look back |
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| 2014, Dreamwalking |
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| 2014, Landfall |
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| 2014, leaving home |
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| 2014, Walk a way |
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| 2015, Free Breakers |
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| 2015, Soundscapes |
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| 2015, The Architect |
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| 2016, Cumulus & Thunder |
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| 2016, Cutting Dawn |
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| 2016, Imminent |
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| 2016, Impact |
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| 2016, Lost in the Rain |
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| 2016, Wake Up! |
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| 2017 NCC (ad campaign) |
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| 2017 NCC Construction company (ad campaign) |
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| 2017, All Above the Sky |
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| 2017, Campaign for the Swedish construction company NCC (ad campaign) |
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| 2017, Campaign for the Swiss company Clienia (Ad campaign) |
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| 2017, Campaign for the Swiss company Clienia (Ad campaign) |
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| 2017, Demand & Supply |
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| 2017, Full Moon Service |
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| 2017, Loyal mail |
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| 2017, self supporting |
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| Big laundry day |
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| Campaign Unboxing Fyrklövern BTS (Ad campaign) |
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| Deep impact (Ad campaign) |
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| Escalator in the sky |
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| No limits (Ad campaign) |
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| Perspective Squarecase |
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| Swerea hand (Ad campaign) |
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| TAC (Ad campaign) |
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| Volvo Art Sessions (Ad campaign) |
There are many I like but i LOVE self supporting, that one I would own, he is bizarre, loves scissors, ad campaigns fascinating, i like cut and fold, many others; interesting mind beautiful art
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