Brushstrokes Series and Flat Gradient Brushstrokes Series, could you tell me something about this series of works you are showing tha Luce Gallery in Turin?
The show includes new works from two series of paintings with a mutual focus on the brushstroke, although with significant different approaches. Both series has an element of painterly "impossibilities”.
In the brushstrokes series, this impossibility is the repeated identical brushstrokes, made through casting and copying of brushstrokes. The Flat gradient brushstrokes series has smooth color transitions within the brushstrokes. This is done by multiple layers of paint where the first layers are multi-colored and blurred with Sfumato technique to a smooth surface. When it’s dry, melted wax is applied with a gestural intuitive brushwork. This is then covered by a layer of white paint. The wax is re-melted and peeled off, leaving the shape of gestural strokes on the white surface exposing the underlying multi-colored layers. The top layer is white to resemble primer, so that the viewer at first sight will have the impression that the brushstrokes are made hastily directly on a white primed canvas.
The show also includes sculptures made of abdominal training devices (the ones you usually see on TV-shopping), which are merged and assembled incorrectly.
You are born in Sweden and living in Norway, in which way this two country are influencing you and your poetry?
I guess I’ve been formed from Scandinavian traditions of art, styles, materials and nature. There isn’t a great cultural difference between the two countries, but the step to a more formal minimalistic approach is probably more from a Norwegian origin.
How would you present your work?
Within or without frames.
Where do you make your works?
In my studio and in my car (Wolksvagen Transporter), but mostly in my head.
What can’t be missing from your worktable?
I have a regular painter’s worktable with lot of brushes and drawers full of messy paint-tubes. On my coach lays Cosmo, my studio companion, who is very helpful in the studio.
A collection you wish at least one work of yours was part of?
In fact, I was wishing for my works to be part of Ernesto Esposito’s collection a week ago. Since the collection are likely to be on display at times. But he came by the opening in Turin and now I’m happy that my works are a part of it.
A museum where you’d like to have an exhibition?
I used to work at Henie Onstad Kunstsenter. If I´d got a show there I could fool around with my former colleagues.
The market or your need to express?
All I need is my need.
Lightness or depth?
A good balance.
Day or night?
Day, I’m an early bird.
Indians or cowboys?
Question you’ve never been asked but one you’ve always wanted to answer?
Answer that question…
Do you want to join our band? Yes!
Could you briefly describe one of your latest works?
In an extension to the brushstrokes paintings, enlargement of the same brushstrokes, made through 3d-scanning and CNC-milling, works as a transition to a sculptural body of works. These are also included in the show at Luce Gallery, mounted directly on the wall without canvas or frames.
What are you reading?
Gösta Berglings saga by Selma Lagerlöf, a Swedish classic.
Real Humans on Netflix (the Swedish original by Lars Lundström). Kind of corny series but somehow interesting.
Where would you like to live?
Do you have reference artists?Artists you’d like to work with?
I guess I work best by myself.
A project, related to art, that you’d like to do?
Curate a show.
If you weren’t an artist, what job would you like?
A mystery guest for the Michelin Guide.
Let’s imagine a group show. Who would you like to exhibit with?
Kasimir Malevitsj and Sigmar Polke makes a good starting line-up.
Yes or no to curators? If yes, who would you choose?
Yes. Doesn’t it work the other way around?
Dream of yours?