has been for sale for some time, as you have seen. The maintenance and ongoing development to keep our non-profit and idealistic platform for contemporary art running and safe from hackers etc. costs money that is no longer there. Because of small investments that are necessary now and the running costs, we will have to shut down with a heavy heart at the beginning of summer on June 21.
I am fascinated of a form that is described as docufiction—fiction in the form of a documentary—and something that can mess with your head.
The starting point for this series was two huge industry halls at an abandoned shipyard, situated in Fredrikstad (FMV).
The images creates some sort of a “hyper realism” – a realism that at all times is anchored through documentation, but that at the same time creates a fictive zone that makes possible retrospective as well as sideways views onto the real world. I’ve worked associatively and let the rooms tell me what shall happen to them.
Today these halls have been thorn down. In that perspective “Beddingwood” becomes just a quiet contemplation over something that is gone forever.
I am fascinated of a form that is described as docufiction—fiction in the form of a documentary—and something that can mess with your head.
The starting point for this series was two huge industry halls at an abandoned shipyard, situated in Fredrikstad (FMV).
The images creates some sort of a “hyper realism” – a realism that at all times is anchored through documentation, but that at the same time creates a fictive zone that makes possible retrospective as well as sideways views onto the real world. I’ve worked associatively and let the rooms tell me what shall happen to them.
Today these halls have been thorn down. In that perspective “Beddingwood” becomes just a quiet contemplation over something that is gone forever.
As a child, I once fell down a tree. I just fell a few branches, ended up upside down, caught on a branch by one of my rubber boots. My mother claims I never made a sound - just hanged there quietly. I do not remember this myself, but I like to believe that I enjoyed the view. Up in the trees everything looks a little "Pollockesque".
I remove the "jazz" of Pollock's paintings, and create sugestive mirrors wich is largely based on light-dark contrasts rather than chromatic structure. The round shape is a comment on my use of a lens based equipment - Kodak's very first camera availiable to the public; the “No. 1 Kodak”, provided round images. It's also a reference to the "tondos" - a Renaissance term for a circular work of art.
I´ve used hand made filters, and I´ve agitated the camera - forcing spontaneity into different forms. I´m interested in the tension between spontaneity and limitations..
'I am nature', Jackson Pollock.
I - A M - N A T U R E
Exrapolation
I like to climb trees a lot.
Up in the trees everything looks a little "Pollockesque".
My mother has told me that I as a two to three year old (almost) fell down from a huge ash. I was hooked up in one of the branches, and ended up hanging upside down in one of my rubber booths. I never made a sound - just hanged there quietly. I do not remember this myself, but I like to believe that I enjoyed the view.
I remove the "jazz" of Pollock's paintings, and create sugestive mirrors wich is largely based on light-dark contrasts rather than chromatic structure. The result is a setting up of a rigorous play of Pollock/anti-Pollock polarities in each work.
The round shape is a comment on my use of a lens based equipment. Kodak's very first camera availiable to the public - the No. 1 Kodak, provided round images. / Tondos.
I - A M - N A T U R E
Exrapolation
I like to climb trees a lot.
Up in the trees everything looks a little "Pollockesque".
My mother has told me that I as a two to three year old (almost) fell down from a huge ash. I was hooked up in one of the branches, and ended up hanging upside down in one of my rubber booths. I never made a sound - just hanged there quietly. I do not remember this myself, but I like to believe that I enjoyed the view.
I remove the "jazz" of Pollock's paintings, and create sugestive mirrors wich is largely based on light-dark contrasts rather than chromatic structure. The result is a setting up of a rigorous play of Pollock/anti-Pollock polarities in each work.
The round shape is a comment on my use of a lens based equipment. Kodak's very first camera availiable to the public - the No. 1 Kodak, provided round images. / Tondos.
2010, Pencil on photograph, 19cm x 29cm
2500 NOK / 425 USD* / 311 EUR*
Edition: 12
Availability: Available
www.snowballeditions.com
