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.
Filler, oak frame
What is perceived as normal in the normative sense varies over time. This is a crucial battleground for powers that wish to influence society in a repressive and totalitarian direction. The repression of marginalised groups is what primarily characterises a totalitarian movement. Pushing the boundaries of what these are expected to endure, what is perceived as acceptable treatment, opens up a space for fascist policies. Dehumanising descriptions are presented as criticism within the field for freedom of expression.
By attacking several areas simultaneously, one manages to create confusion and internal conflicts, thereby weakening any organised resistance. It is important to stress that there is a connection between far-right fascist groups that transgress normality, and the establishment of neoliberal policies, with the dismantling of welfare solutions and ethical, solidarity-breaking norms at the centre. Visibly alienated groups create a regime of fear, which in turn enables mass submission to the inexorably hierarchical and performance-based system capitalism is, in its purest form.
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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