My work is primarily in mixed media painting. I use a lot of acrylics, mixed with layers of oil-paint, spray-paint, ink, and markers. I have my education from the Norwegian National Academy of Arts. While being a student, my work included installations consisting of both two- and three-dimensional works. These installations would be a mix of wall-painting, painting on flat profile aluminum, painting on random found objects, anatomical drawings, non-narrative video, and also some recorded performance.
My artistic form evolved at the time through certain stages, like the trash-aesthetic expressions prevalent in the early 2000s. Parallel to this, I worked in minimalistic spaces making braille sculptures that merged visuals with interaction and language. I later added figurative and photorealistic drawings to these minimalistic scenes. Visually I’ve kept traces of these early periods in my work. Besides painting, my recent projects experiment in a series of externally, mass-produced, on-demand type of drop-shipping products with my pictures as a visual base or wrapping.
Thematically my paintings invoke a sense of urgency or silence. Scenes are built and deconstructed through the use of contrasting signal colors, dripping graffiti-like references, and a chaotic base. My work draws on a sense of numbing visual overload intertwining a buzzing backdrop. It gives the artworks the impression of something compressed, dense, or concentrated pointing at an unreleased process and movement towards looser forms.
Distinct lines shoot forth in conclusive bursts creating tension between hardness and softness. The work’s titles are often of heightened importance for me. I see them as a catalyst that triggers the viewer to unlocking the latent context of the visual journey expressed.
Going further my paintings hint at metaphysical landscapes. The stories in these landscapes play out through abstracted figures, people, nature, or animals. They sometimes include symbolically charged words or numbers. Some paintings will also interact directly with the viewer through painted QR-codes that facilitates as a secondary layer of context. Based on the subject these codes point to various media channels, music, or videos of people’s different belief systems in our modern-day culture.
A direct interpretation of the surface will often shift to a more subtle, sublime subject matter that potentially dissolves purely into the abstract. From a macro-view, this underlying dynamic can seem contradictory and splayed. Through the lens of progression, images bounce into each other to form a series of stills that indicate cycles and seasons.
Another thing to point out is my use of pre-modern and modern era references. I use these different sources to create unexplored combinations and context. This historical curiosity has in many ways reconnected and renewed my sense of origin and purpose for creating art.