Sometimes art travels in unexpected ways.
This summer, two of my paintings made their way from Sweden to Paris. Not packed carefully into wooden crates, not accompanied by insurance documents, and certainly not transported by an art courier.
They travelled as postcards.
The destination was Correspondances, an international project by The Curators, bringing together thousands of small pieces of art sent through the ordinary postal system from artists around the world.
And somewhere among all those postcards are two of mine.
The Curators – from New York to Paris
The Curators was founded in New York in 2018 by Lea Simone Allegria and Augustin Doublet.
Their idea was to create a different kind of platform for contemporary art, with a particular interest in emerging artists and in breaking down some of the barriers that have traditionally made the art world feel rather closed and inaccessible.
In 2023, The Curators established a project space in Paris. In 2026, they opened a permanent gallery at 20 rue Meslay in the Marais district.
What interests me about The Curators is not simply that they run a gallery in Paris. It is the way they seem to approach the relationship between artists, art and audience.
There is something refreshingly open about it.
Correspondances is probably a very good example.
More than 3,000 postcards
The idea behind Correspondances was wonderfully simple: artists were invited to send postcards to The Curators in Paris.
And they did.
More than 3,000 postcards arrived from over 1,000 artists around the world.
They travelled from Tehran and Rio, Tokyo and Bali, Bangkok and Casablanca – and from countless other places – eventually finding their way to the same walls in Paris.
There was no traditional selection process deciding which postcard deserved to be shown and which did not.
Every postcard received became part of the exhibition.
The Curators describe the result as an “atlas of summer 2026”, which I think is rather beautiful.
Thousands of fragments of different places, ideas, images and individual lives, suddenly occupying the same physical space.
Something strangely appropriate about a postcard
There is also something I particularly like about the choice of the postcard itself.
It is such an ordinary object.
For generations, people have used postcards to send a tiny piece of one place to somebody somewhere else.
Wish you were here.
A picture on one side. A few words on the other. An address, a stamp – and then you let it go.
Today, when an image can travel from Sweden to Paris in a fraction of a second, physically putting something in the post almost feels strangely antiquated.
Perhaps that is exactly why I like it.
Each of these 3,000 postcards actually travelled.
They crossed borders. They passed through sorting offices. They were carried in bags and boxes, handled by people, and eventually arrived at the same address in Paris.
For a project called Correspondances, that seems rather appropriate.
And two of them are mine
I sent two postcard versions of my paintings: Perfect Woman (Venus by Mathematics) and The Shape of a Memory.
And there they are.
Seeing my name and the two images on The Curators’ website, surrounded by work from artists from all over the world, gives me a peculiar little sense of satisfaction.
I am not going to pretend that having two postcards among more than 3,000 suddenly makes me a great Paris-exhibited artist.
That would be stretching things a little.
But I am still rather pleased by it.
These two images started as paintings in my studio in Sweden. Then they became photographs, then postcards, and eventually travelled all the way to Paris to become tiny parts of something much larger.
For a while, they shared a wall – and a story – with work sent by artists from across the world.
And technically, I suppose I can now say that my work has been exhibited in Paris.
Even if it arrived with a postage stamp.