Filler on board, oak frames
Dimensions: 150cm (H) x 150cm (W) x 5cm (D) / 59.1" (H) x 59.1" (W) x 2" (D)
Note: Actual colours may vary due to photography & computer settings.
I did this work by walking 99 turns in a circle over 4 panels placed on the floor in an interlocking square spiral shape wearing clogs.
Walking in circles is a form of meditation and an essential component of Bagua Zhang, one of China's three martial arts. You walk in circles to empty the mind and thus escape the closed circuit of subjectivity.
In the middle of this work, there is a void that hides the centre of the two depicted circles. One can perceive the hidden - or missing - spot as an image of the subject's primordial desire, the unattainable truth about itself, around which the subject creates its identity.
Walking in circles is also an expression of being lost, of not knowing the way forward, from one's place or state. I used a pair of plastic clogs when I made the piece to connect it to the working class. Thus, the work can refer to the famous 99 percents lack of insight into its position in the economic conditions of production - what is called class-consciousness.
But through the repetition present in the work, the individual footprints have merged into two rings and thus created a kind of track or a path. Which, in turn, can be perceived as an expression of building the road by walking it.
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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