View In Room
View In Room
Filler on board, oak frame
Dimensions: 84cm (H) x 64cm (W) x 5cm (D) / 33.1" (H) x 25.2" (W) x 2" (D)
Note: Actual colours may vary due to photography & computer settings.
The works in this series are made by pressing down the filler vertically until it reaches a depth of 6mm.
There are 30 paintings in the series — the same amount as the articles in the UNs Universal Declaration of Human Rights. Today the human rights are often used in a game of ideology, to promote hidden agendas. It is necessary to discuss the status of their universality. Where does a universal right end, and privilege begin?
In the same ways as the paintings in this series can be perceived as many thin slices of one three dimensional form, perhaps the articles in the declaration can be understood as different slices of one bigger, more fundamental human right. Every subject in this world, everyone carrying a name, are equally entitled to these rights. So that one fundamental right would be the equality of all humans. This primordial ethic behind the declaration is usually suppressed in favour of the particularity of the different rights.
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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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