View In Room
View In Room
Filler on board, oak frames
Dimensions: 84cm (H) x 128cm (W) x 5cm (D) / 33.1" (H) x 50.4" (W) x 2" (D)
Note: Actual colours may vary due to photography & computer settings.
64 (W) x 84 (H) cm each, installation dimension variable | Filler, oak frame
Lateral in this context means sideways. The works in the diptych are done with the left and the right-hand drawing in the wet filler simultaneously.
The human body, as most organic life forms are symmetrical around a centric axe. There is something uncanny about the mirrored shape that grows sideways in opposite directions apparently out of nothing. The mirror motif is common in horror fiction. Accordingly to psychoanalyst Jacques Lacan, our sense of self develops by watching ourselves in the mirror and perceiving ourselves as objects in the world about us. Moreover, there is always something barred in our minds; the subconscious is never fully accessible. Parts of ourselves seems to exceed our subjectivity, belong to something external, out of reach, but at the same time influencing us.
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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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