Filler on board
Dimensions: 168cm (H) x 128cm (W) x 5cm (D) / 66.1" (H) x 50.4" (W) x 2" (D)
Note: Actual colours may vary due to photography & computer settings.
128x168 cm (64x84 cm each panel) | Filler, oak frames
I tried to do some simple splits in the wet filler while wearing clogs and a blindfold for this work. I used paper cups as support.
The word is derived from the Latin "capitalis", which means "of the head" (caput). In capitalism, capital, the means of production, comes from the head and the work thus from the body. The separation between body and mind, that is, between the subject and its bodily abode, is, therefore, an essential part of the inner logic of capitalism. The symbolic - language is given a more significant value at the expense of the Real - raw materiality. As capitalism develops, criminal correction shifts from the punishment of the body to the discipline of the mind. Since it is only the mind that has value, it is the mind that needs to be controlled, not the body. Corporal punishment has now been largely abolished, but capital punishment has also decreased in scope. Both methods assume that the mind (the subject) is indistinguishable from the body (matter). It is incompatible with another separation within the capitalist system, namely the economic exchange from labour that generates it. If the subject can not be separated from the body, the profit from the production apparatus can not be expropriated by the head - the capital, but rather belong to the whole body, i.e. also the workers - the employees.
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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