Filler on board. oak panel.
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.
Filler, oak panel
I made two imprints of my rear end to express my contempt for weapons, militarism and war. It is also a pledge for non-violence. If there were no soldiers, there would be no war. To simply sit down may be the most forceful weapon.
In times of turbulence, the willingness to take up arms grows for states and individuals both. It frightens me. It is easy to be a pacifist in peacetime, but it is even more important to stand up against violence as a solution to conflict when it is presented as the only option. Propaganda seeps into private and public conversations. This work is not a call for surrender but an exploration of the possibility of denouncing the ideological conditions for war, refusing to cooperate in its activation and avoiding being controlled by power. To not act is sometimes an act in itself.
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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