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.
This work is produced as a group with three others. Two of them have a seamless transition. They can be mounted together in different combinations, or individually.
A membrane is a selective barrier. It lets something through and prevents others from passing. Visual membranes can be polarised glass as in sunglasses or semi-transparent fabric as in tights or veils. A screen on a computer with a user interface is also a kind of membrane. Behind the screen are processes of which the user only sees the end result.
Perception itself can be described as a membrane, or a filter, where some parts of the information from the eye contribute to the visual impression, while other parts are omitted. Our pre-understanding of reality determines that we only perceive parts of what surrounds us. It can also have overall consequences, such as that phenomena outside the majority culture become marginalised or made invisible, and that the privileged remain blind to the specificity of their own social and cultural status.
The search for truth is sometimes described as lifting the veil that hides the real state of things. The truth is often called raw and unfiltered. But a filter can also be like a moraine. When the water is slowly seeping through it, it becomes clear and clean. We may sometimes need to hide parts of reality, filter the gaze of the outside world, to give an impression that is more in line with our inner image of ourselves.
The membrane is a primordial component of life. The cell wall regulates the organism's basic relationship to the outside environment. Without it, life would not exist. In the same way, the language prerequisite is the ability to set boundaries. To distinguish one from the other. One can think of language itself as a membrane, or a filter, that separates and sorts the limitless and continuously fluctuating nature of the material world.
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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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