The world is my garden

I am inspired by abstract expressionism (New York school) and especially Helen Frankenthaler and Lee Krasner for their braveness at their time. 

When I started to show my paintings off stretchers, just hanging freely in the room I picked up Sam Gilliam and Vivian Suter for inspiration. They gave me courage to follow this path, but my main inspiration comes from inside myself. I have a driving force inside me.

 

Through my paintings I can express the wonder and the curiosity I feel about nature and the world I live in. My work is an intuitive improvisation on nature and on the impressions of my walks in the forest, my hikes in the mountains and my hours on the windsurfing board. Through a process of psychological realism, visual elements are restructured into an abstraction of landscape.Through the relationship of colors, forms, and marks, through rhythm and balance, and the physical and psychological work of painting, each picture develops into a unique expression. Using visual suggestions, I draw the viewer into an imagined landscape, into a colorful, dynamic world that hovers between the abstract and the representational. 

 

With the project "Belong", I want to establish a room where the public is allowed to touch, feel and lift my paintings. My artistic project is about creating a new, tactile space where people can dream, escape, wonder, breathe, feel, stop and feel. I work with paintings in large formats and try to break with the established concept of canvas on a blind frame. In exhibitions, I will try to evoke nature and give the audience an experience of moving around in a dense forest, primeval forest or jungle.

 

I walk a lot both in the woods and in the mountains and I have discovered that if I go for a walk where thousands of tourists have walked before me, the tree I lean on or grab is completely slippery and worn. I feel the traces of everyone before me. This will also occur when enough people have touched my paintings. They will be worn and get tracks, and the tracks will be part of the work. Hanging on the walls in layered compositions and floating in the room, the audience is encouraged to engage more physically. The works form a changing landscape and the installation encourages human connections in the face of each individual painting but also in its entirety. Those present must circulate around and use the spaces between the canvases, so that each painting slowly reveals itself. The gaze is continuously drawn from one painting to the next and creates a temporal unfoldment. The backside can be just as interesting as the front.

 

I travel a lot and my paintings are often made connected to this. They are non-verbal communications between my memories from a different part of the world, different atmosphere and landscapes, to my present surroundings, connections and dependencies. Since Covid-19 I have been travelling in Norway. The journeys between memories and reality leaves deep impressions and allow me to see things differently. The moods and feelings that my paintings bring about are far more important to me than references to natural landscapes. 

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