Hello Olivia and welcome to NotRandomArt. To start with, could you identify a specific artwork that has influenced your artistic practice or has impacted the way you think about your identity as a participant of the visual culture?
In January last year I visited the Brandhorst Museum in Munich for the first time. When I arrived in the last room, I was absorbed by Cy Twombly’s monumental work Lepanto (2001), composed of 12 paintings which measure 216,5 x 340,4 cm each. The dimensions and the hanging of the pictures give the spectator the feeling of being enveloped by the painting. The set Lepanto in particular is hung on a curved wall, envisioned by Cy Twombly himself. Even if the canvases are separated, they seem to be a unified piece like a frieze which would fill the room's space. After a while in front of Lepanto, I forgot my body, or rather, I became one with it. This encounter with Cy Twombly's work had a great influence on me and is the origin of my last set of drawings called « Mélancolie », composed of 5 drawings which measure 190 x 400 cm each. In this set I use the immersive dimension of drawing to suggest an encompassing and destabilizing perceptual experience to viewers. I wanted to work on the idea of a landscape, rhythmical in black and white, the shadow and the light and oscillating between figuration and abstraction, apparition and disparition.
Would you like to tell us something about your artistical as well as life background? What inspired you to be in this artistical point in your life when you are now?
I was raised in an environment where art was almost omnipresent. My two grandfathers were drawers of pictures and my parents are passionate about art. Ever since I can remember I have always created things and drawn, so it was obvious that I would keep going in this way. After two years in an art faculty I felt very frustrated because there was an imbalance between the practice and the theory. I think it was more a place to learn art history, aesthetics concepts, philosophy etc .. than the right place to develop an artistic technique and identity. That's why I left the faculty for an art school. I don't regret my years in the faculty because what I learned there complements my experience in the art school. I think it is important for an artist to have enough knowledge of art history to be able to put his work in a context.
Hello Olivia and welcome to NotRandomArt. To start with, could you identify a specific artwork that has influenced your artistic practice or has impacted the way you think about your
and so on. I am also working on being more aware, more present and not least to listen. I really like to be as open as I can, I push myself too, and I like to try out different forms for communication, try to communicate. I want to create wonder.
I am from Manndalen, a small village in the north of Norway, my background is coastal, sámi and north norwegian, though I say as Charlie Chaplin: “ I consider myself as a citizen of the world”. I try not to let my background and cultural history shape my work, instead I make a new space or new worlds where I let myself be free to express. My background lies more as shapes and colours that can occur in my work. Everything comes down to what I would like to express. I do not like c