Filler on board, oak frame
Dimensions: 123cm (H) x 90cm (W) x 5cm (D) / 48.4" (H) x 35.4" (W) x 2" (D)
Note: Actual colours may vary due to photography & computer settings.
90 (W) x123 (H) cm | Filler, oak frame
Spread is a series of work which composition is made by pressing down the filler and letting it form itself, much like rolling out dough. To roll was the first verb on Richard Serra's Verb List. It functioned as a kind of manifest for Serra's way of producing sculptures. To spread is also on the list. It´s about making art by exposing a material to different kinds of forces.
The image on the surface also functions as a cross-section of a potential three-dimensional form, which would continue outwards into the room, and do so inwards into the work. A perceived image is always a cross-section of the sum of light beams passing through a plane, or a screen, at a certain moment. All my works deal with the relationship between images and the real world. An image is a two-dimensional sign, an unsubstantial idea, that needs to be presented in physical matter, a three-dimension reality, to exist.
The series is about the fact that pressure is defining how everything is shaped. The form of an object is a description of the different pressures, or forces, working upon it. The same goes for all phenomena, like societies and personalities. The pressures working on us is revealed in how we act and present ourselves.
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Based in: Oslo
I am interested in process-based painting and the profound human solitude. While exploring one thing, I sometimes try to formulate something about the other.
My work is made from construction filler in oak frames. I have developed a unique technique, where I insert 6 mm thick layers of grey and white filler into the frame like intarsia, instead of on top of each other as in conventional painting. The result gives a graphic expression that at the same time has tactile materiality. I use some simple but clearly defined methods to apply the filler in the frame. These limit the expression of cognitively controlled processes, thus opening an opportunity to reveal something unknown.
They often take the form of series or installations that extend into the room.
I base my work on the notion of a primary alienation in the human subject. By using painting, I want to formulate something around this lack, or the desire, integrated into our perception of reality. I want to explore whether the problem can illuminate other forms of social and cultural alienation—for example, privileges, class, racism and xenophobia. In short, different types of distances between people.
I have previously shown works in Scandinavia at Konsthallen Trollhättan, Konsthallen Lokstallet, Konstepidemin, Kristiansands Konsthall, Akershus Kunstsenter, Trondheim Senter for Samtidskunst och Tenthaus Oslo. I am educated in Norway at Kunstakademiet in Trondheim and live and work in Oslo.
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