View In Room
View In Room
Filler on board, oak frame
Dimensions: 64cm (H) x 84cm (W) x 5cm (D) / 25.2" (H) x 33.1" (W) x 2" (D)
Note: Actual colours may vary due to photography & computer settings.
I did this work by pacing the edges of a panel with wet filler, 99 laps wearing plastic clogs.
For me, the work is about how the physical limitations of existence shape our bodies and patterns of movement. Economic power is applied from the outside and influence our lives to a greater degree than our inner motivations. The vast majority belong to the working class, i.e. everyone who is employed - earns a living through wages or benefits. Their freedom of movement is, to a large extent, dictated by external conditions beyond their control. The shape of their tracks is primarily characterised by monotonous repetition. Many attempts to break this pattern take the form of crime, leading to further spatial confinement. It is no coincidence that the prisons are full of people without financial resources. The prisoner's movements are restricted to pacing the walls of the cell.
Nevertheless, submission to external circumstances is something that characterises the whole subject on a fundamental level. Being an independent, self-conscious individual, capable of making free choices, depends on a boundary between the mind and the environment. The subject's primordial state is alienation. It raises a desire to break this isolation and dissolve the closed circuit of the subject and create a connection to the body or other entities outside one's self. It can involve complete devotion and denial of one's own will, but just as often mean applying extensive self-discipline and total control of inner impulses. As, for example, through different meditation techniques.
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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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