Henriksson's quiet, formal compositions are near-perfect meditations on shape, light, shadow and texture.
Some of his images bring to mind early masters like Paul Strand and Aaron Siskind.
A contemporary master, Anders Petersen, wrote this about Henriksson's work:
"This spring I had the opportunity to see Örjan Henriksson´s photographs for the first time. In these days, when critics and media excel in postmodernist comments of the correct opinion, Henriksson´s pictures seem surprisingly naked and liberating.
"At first sight one might be tempted to call them registering or documentary, but what they describe is rather a photographic room placed in the borderland of the sacred.
"In their disciplined form and handling of the light they charge me with an astonishing energy and invite the observer to a journey, different and meditative, not unlike music, but an empathetic one."
Henriksson seems to have the eye and the patience to wait for just the right moment for the light to rake over a scene, accentuating texture, warping lines and celebrating the senses. The way he frames his compositions is impeccable.
It was a joy for me to meet him this spring, as well, during portfolio reviews at FotoFest Houston this year. He is a humble, talented man, and definitely someone to watch.
Jim Casper / Lens Culture
”This spring I had the opportunity to see Örjan Henriksson´s photographs for the first time. In these days, when critics and media excel in postmodernistic comments of the correct opinion, Henriksson´s
“like a delayed ray of a star”. Susan Sontag.
His exorbitant photographs render an intense hallucinatory ecstasy and as a spectator I felt strangely under the influence of an intoxicant, while at the same time lacerated by the defeats of time
“Every photograph is a catastrophe”. Roland Barthes.
“I entered crazily into the image, taking into my arms what is dead, what is going to
Orjan Henriksson’s beautiful photographs bring together in a Barthes like bouquet: photography, hallucinatory madness and something like the pangs of love in the modality of loss.
Orjan Henriksson’s photographs are not merely subject to the civilizing codes of perfect illusions but are awakenings on the way to the limit of the real.
Dr. Jean Matthee, London