Henrik Saar
Henrik Saar was born in Denmark near the German border. Son of a Danish mother and a German father, who started an architecture and construction company in Fredericia back in the 7'ties, where Henrik grew up working at his office: Saar's drawing office since he was a child. Henrik was a competitor in swimming and trained hard every day. One day in 1981, after a running competition, he got a stroke, which left him paralyzed on the entire left side of his body. To replace the loss, use the same volume of energy, and satisfy his hunger for competition, drawing, writing, and exercising in a fitness center became a new lifestyle. Unfortunately, he got epilepsy because of the surgery from the stroke, and he had to live with that. As he grew older, he learned about architecture and thought he would someday be an architect. One problem was that he had no interest in houses, construction, or buildings, nor was he very practical. He liked the drawings a lot but needed to figure out what to do with this weird interest in cartoons. To do something rational, he studied at the Seminary in Tønder from 1988 - 89. However, the studies were interesting; he left to become a full-time artist. In 1990 he moved to Copenhagen, living isolated in artistical contemplation for two years before he met the girl who became his wife. She was from Peru and opened the door to the amazing Peruvian culture for him. They got two children, and he returned to the Seminary in 1995 to finish his studies as a Teacher in 1999. He focused on existential aesthetics in religion, art, academics, and adult education. Through the 9'ties, he showed his art in national galleries in Denmark. In 2003 Henrik made his first step into an international career as an artist by exhibiting retrospectively 59 artworks at the Academic Center of Culture in Lima, Peru, supplied with supplemented by lectures at the art academy. The technological and world wide web revolution with unbelievable possibilities for global communication. That started a new life focusing on worldwide contemporary art and cultural development. The audience is massively extended, and the subjects are broader. A philosophical perspective that still motivates him in his work as an artist. Thus he defined an ideology that he called 'Transformationism.' to honor and describe contemporary visual poetry.
