Around Holmavatnet, The last Snow.


Sometimes people approach me with some really interesting motifs they have captured on camera. As long as the pictures correspond with a specific set of features I want in my works, I can take on pretty much anything. It’s actually rather convenient as I don’t have to make the somewhat hard journey far into the mountains in deep and soft snow. It can be really hard to negotiate for the most.

Terje Fosse captured som really nice images from an area I remember well from my childhood. Some of my friends families had their cabins in this area, and my family went skiing there quite frequently. Terje kindly allowed me to use his images and this has so far resulted in two large pieces.

The small birch wood is just about able to survive this tough environment, and they make a really interesting touch when included in the composition.

2019-04-08 08.44.46“Mot Lysenuten” 190×130 cm. Acrylic on canvas.



Ved Holmavatnet“Ved Holmavatnet” 145×110 cm. Acrylic on canvas.

Recycling an old window into picture frames.


Recently our house has gone through a major refurbishing in a process of taking it back to the original look from around the year 1900.

This major undertaking included replacing the windows with modern replicas of original style.

Hus før

The building prior to the transformation. My studio and show room on the ground floor.


Hus etter

Siv Helen doing a great job giving the house a propper coat of paint. The final touch. Note the reclaimed slate tiles and the great windows from Flygansvær Trevare (Vestlansvinduet) custom made locally on Tysnes.

Such a major refurbishing produces an abundance of materials that are mostly taken to the dump. However, I try to keep an eye open for anything the can be reused. To my surprise, the old large window in the front, was fully made from solid teak. I accidentally noticed the exclusive look of the wood whilst braking the darn thing down to manageable pieces for dispatching. It surely looked like some expensive type of wood from the rain forest.

As these types wood are considered non sustainable in our times, this was a rare opportunity to make some rather nice frames. I would hate to see such beautiful material go to waste.


The pieces were cut on an electric table saw and then glued together. I tried to make them in formats suitable for my prints.

Rammer II

The result was very pleasing. 

I managed to produce six individual frames in various sizes from the single window.

A final note: I do not cut and mount the actual prints into the frames myself. My professional framer at Dahls Rammeservice in Haugsund was experiencing some difficulties during the mounting and kindly instructed me to make a note of this.  I used some canola oil to treat the surface. I would recommend not to soak the inside of the frame with any such treatment, as it made the mounting tape unable to adhere to the wood.



“Den Siste Snøen”- Galleri Hagalid


29. september vil mine arbeider bli presentert på Galleri Hagalid, som ligg i vakre omgivnadar i Hjelmeland kommune. Du trur kanskje du har køyrt feil på den smale vegen som snor seg oppover, men når du kjem opp på platået der det gamle tunet ligg, finn du snart ut at denne plassen har mykje meir å by på enn ein skulle tru. Her finn du eit svært særprega galleri i autentiske eldre bygg, vakkert restaurert og respektfullt påbygd.

Galleristen Hanne Sundbø var svært ivrig på å få til nokre lokale motiv, og eg har no arbeida med tre ulike arbeider utført i akryl og olje i små format, tilpassa galleriet sine intime rom. Eg har også utarbeida ei trykkplate i mezzotint der Reinarknuten er tema. Dette er eit motiv som har mykje kraft og tyngde. Ein nut, men også ein kolossal knytneve i stein. Ein tenkjer at kanskje berre snøen på toppen kan gjera den balansert nok for ei trykkplate. Eg lot meg riva med i prosessen med det vesle maleriet, og vegen vidare var lett å velga. Dette måtte bli eit grafisk blad. Eg vonar desse to uttrykka kan utfylla kvarandre.

Det blir eit variert utval av Maleri, kullteikningar og mezzotint. Skal tru om galleristen diskar opp med noko også? Eg trur opninga kan by på inspirerande overraskingar.

Utstillinga står til 21. oktober. Her har du ein perfekt sjanse til å kombinera ei flott utflukt eller ein fottur med ei kulturoppleving.

Ta gjerne ein kikk på heimesida til galleriet:


Reinarknuten. Akryl på plate.




Reinarknuten. Mezzotint.





“Den siste snøen på Hagalid”. Akryl på plate.




“Austmannaskardet” . Akryl på plate.

A commission for Etne Omsorgssenter.



Over the last months I have been working on my largest canvas ever. It sure has been an extraordinary process, scaling up to 280 x 180 cm.


Mot Flokatveitnuten 280x180“Mot Flokatveitnuten” Acrylic on canvas. 280×180 cm.


Although this format is to be regarded as rather insignificant compared to many great works of art up through the ages, it proved a bit of a stretch (pun not intended) for my modus operandi. How could I ever reach the centre section, considered the canvas always has to be flat on the floor during some of my operations?

I soon managed to adopt some clever tricks in order to reach the “hard to get to” areas. I attached an extension to some of my tools and brushes.

Then came the issues with the weather. What if it would start to rain whilst the canvas was on the ground outside my studio? In order to keep within a minimum of the recommended health and safety practices I do make en effort to conduct all applications of hazardous art materials such as turpentine and most varnishes outdoors. However, some of these are applied in generous amounts floating on the surface. If a rain shower would appear, I would be rushed to bring the canvas inside, and considered my studio door does not accommodate a 280×180 cm format unless it’s raised up standing, you may imagine the disastrous impact.

However, the weather gods were on my side for a change, and the forecasts proved to be correct. I will probably arrange for some sort of roofing over my out door work area next time, but all in all I would have to say this was a process that proved less problematic than anticipated. Next time I might even try to stretch it a little further.


Velcome to Balestrand.


From May 4th to June 26th my works will be on display at the Galleri Holmen in Balestrand, kicking off the Jazz Festival “Balejazz” on the first weekend of the exhibition period.

I will present some new work selected for this show in particular. The modestly sized 120 x 80 painting titled “Over Vikafjellet” has a rather strange “out of the car window” feel to it, and I was very ambivalent as to how well this photo (taken by the eager photographer Siv Helen during our journey across the country last summer) would work as painting. The horizon line is rally out of level, and this kept bothering me during the process. In the end it turned out rather interesting, and with a slightly different palette it makes  a nice expansion of the range.

In order to connect with the local audience, I found a nice subject for a small 23 x 23 mezzotint and made an edition for this show. The dramatic contrasts in this print is playing very well with the black and white. I hope my attempt to portray the “Keipen” will be well received with the locals.

I also had time for a tiny 17 x 9 mezzotint. This little “baby print” has a dusk or perhaps  dawn-feel, taken from our drive mentioned above. The area of Vikafjellet is located at the border between Hordaland and Sogn og Fjordane, and forms the perimeter of the specific type of terrain I pursue to capture in my work.  In our region you find the rounded mountaintops, worn down by the Ice Age. On the other side, the dramatic peaks rising from the fjords.


Haukeli in two different sizes.


As a professional artist, I do need to sell the odd piece for bread and butter. In order to reach a broader audience I try to vary the formats a lot, as some art buyers have limited space available for display, or simply their budget is a little tight.

My most recent session included two very different versions of Haukeli. A full version at 170×125 cm, and a tiny baby at a mere 58×38 cm. The smaller piece being at section from the center features of the large version.

It’s interesting to experience how different the landscape appears after selecting just a small portion rather than scaling it down to size.

2018-03-13 08.37.30

“Haukeli” 170×125 cm. Acrylic on canvas.

2018-03-13 08.38.04

“Haukeli” 58×38 cm. Acrylic on board.



Refining and exploring.


For the next two exhibitions I have been on an unusually tight schedule, thus having to make the production process as efficient as possible. Alas, no time for a range of new motifs and prototypes. There will hopefully be time for that later on this year.

2017-09-22 09.51.24.jpg

Outside my studio.



Nevertheless, experiments can also be focused on ground already covered. By taking up some of my most valued references, I was able to work towards an array of my best compositions so far, and bring them a notch furter.

2017-09-27 09.48.30.jpg

Thea giving the canvas a decent scrubbing. It’s hard work!

So, did this loop approach make any difference as to saving valuable time? I would say it probably did, although I find myself in a notorious habit of getting involved in some strange detail, effect or other aspect, only to see it it swiftly gone in a whim of sandpaper madness.

Like the nature I try to convey, it’s never predictable.

Haukeliseter 170x125

I simply love the way this one turned out. A slightly rougher approach. Perhaps this will be my  M.O. for the next series.


Stort landskap i lite format.



Det var på høg tid å fylla opp grafikkskuffene igjen. Eit par koparplater låg og skreik etter å bli valsa over med mezzotintvogga. Det tar lang tid å preparera platene, sjølv dei små, men når ein kjem så langt som til at ein kan byrja å polera inn motivet, er alt strev gløymt.

Denne gongen ville eg laga eit panoramaformat der eg har muligheten til å trykka i ulike lengder. Eg har også variert med ein og to plater der ein får motivet både med og utan skodde og ekstra skyer. Eg har mange minner frå å sitja i vindauga på hytta vår og sjå Håheimskaret “koka opp” skodde som velta oppover mot Jupaheiane.


“Flokatveitnuten og Solheimsgrønnut” Mezzotint. Ca. 50(Varierer)x24 cm. Variert trykk.


Frå tid til annan får eg bestillingar der ein kunde vil ha eit heilt, eller deler av eit opplag som skal gis i gåver til ansatte. Eg vart utfordra på tittelen “Svalhugne Augeblink”, og tenkte på motivet av Sørnuten, som eg har gjort utallige maleri- og kullversjonar av. Formatet var svært lite for å følgja eit budsjett som var gitt av kunden, men resultatet vart ganske artig.

Mezzotint Mot Sørnuten lite

“Svalhugne Augeblink” Mezzotint ca. 17×8,5 cm.


Days of Charcoal


If you see me covered in black stains all over my clothes, face and palms these days, it does not mean I have started my own coal mining operation, although my studio may look like the sort.

My days of drawing are back, and after acquiring some very cool new tools, I brought out the old large soft brushes, the charcoal powder, and some oversize printmaking paper.

Sørnuten II Kull StorMot Sørnuten II. Charcoal on soft paper. 120 x 105 cm.

I use very soft paper for my works on paper. The Hahnemühle 350 grams (made for etchings) on a large roll, gives me a very soft touch and a tonal range that fits the purpose very well. Being only 1/4 glued, it breaks very easily, so a gentle touch is required.

I make versions in charcoal after concluding the first prototype painting. I start off by brushing a fair amount of charcoal powder over the entire surface, giving it a dark monotone. I then start brushing and rubbing of very gently using a large range of cut out stensils.

Frå studio kull“Frå Haukeli” Charcoal on soft paper 120 x 68 cm. The propane is not being implemented into the process. In the background: “Frå Haukeli” 180 x 130 cm. Acrylic and oil on canvas. 

Apart from the obvious issues of making my studio a dusty mayhem, I find the logistics very challenging with these works. They are indeed very frail up until they are given a suitable frame. Thus the transport unframed in bulk is almost impossible without sustaining damage on some level. Once framed, they turn into extremely heavy pieces, and I have to suffer the constant fear of either breaking the expensive artglas (non-reflective), or chipping the actual frame. Either way, unframed or mounted, they are a nightmare to transport.

Just a note on the “artglas”. For artworks with darker areas, the conventional type gives an undesirable reflection from some angles. This is reduced to an almost non-existent issue using “artglas”. Henceforth I will be using this for all my charcoals. It’s simply worth it. I’m lucky to have a very good deal with Dahl’s Rammeverksted in Haugesund. They provide excellent frames at a decent price and will offer professional input whenever I need advice.

Still, the large drawings are a whole lot of fun to create, and things happen very instantly compared to the slow progress of the paintings.                                                                                            Some days I’m just so in the mood for feeling like a miner …

It’s personal …

Some of my followers have approached me suggesting I write a little about myself. So, here we go!

I work and live in a small village on the South coast of Norway called Etne. As you might have guessed, this area provides immense amounts of inspiration and reference for my landscapes. It also happens to be the place where I grew up. I studied a few years in Bergen and UK, but moved back in 1999. I got involved in an art café project with some friends. It’s called Fugl Fønix and later turned in to a hotel project. (Check it out here:

I approach my job as an artist in a way I believe is not too different from any other kind of work. Of course, I’m self employed with all the worries and challenges that would imply. However, it all comes down to putting in the hours and work as efficiently as possible.

Frequently I get “funny” remarks from fellow villagers like “good day, or to you it’s more like good morning?” or “So, I see you got lunch, or I guess it’s breakfast?”. This plays on the classic stereotype of the artist, sleeping all morning, spending a couple of hours in the studio on some crazy installation piece, and then sharing a glass of ruby red with artist colleagues in the evening, finished by a long night of contemplation over some deep existential conundrums. All the time spending tax payers money (he must be on some sort of funding, right?) and inhaling unhealthy amount of turps. Well, this is not really the case. I get up around 07:00 am and do a quick morning session, in order to allow some layers of paint to dry whilst getting over to the local café for a coffee and some office work. Even artists have to pay their bills, order materials, deal with gallerists, deal with customers, follow up on all kinds of strange requests (you can’t imagine all the weird stuff people ask me to do) and, I admit, a little check in on Facebook.

I’m an avid collector of ancient coins and antiques (this is where the hard earned money goes), so a scroll through the current auction listings has become a part of my daily routine. Then back to the studio. In busy periods, like right before a show, I also do evening sessions to stay ahead.

IMG_6488 The artist in deep concentration. Never mind the clutter.                                                       Photo by Helge Haaland Hjelmtveit.

Having become somewhat a mentor, I currently have a few adult students frequently coming to work in my studio. They get some input from me, and I can then ask for a little help from time to time. This works entirely based on a quid pro quo arrangement, and is also a nice break from the solo monotony of working alone. I enjoy the company.

As self-employed, I have the privilege to take the odd day off in a whim. I don’t have children, and this means there is more time for work, but also some recreational activities. I’m a very keen metal detectorist, so if I’m not on a tight schedule and weather allows, it’s very tempting to go for a dig.

By now, you’ve probably figured out I’m a big nerd.

Never mind, I also play music (guitars and sax) with friends and do on occasions get involved on projects like a horn section that performs with a local choir. My band “Owls to Athens” is planning a studio session in the local ABC Studio (Check it out! (the studio)

My landscape project is currently the main focus. However, in periods I have been working on the “Fiigenschou series”. This is a kind of meta baroque project that involves fictional cat characters in a conspiratorial concept. Have a look at this old website from the time when flash was hot (does not work very well on iPads):           You will also find more updated works on this FB-page:

The cool cats from the Feline Era. Various sizes. All oil on canvas or board. 

The project also includes sketchbooks, objects and artifacts. And yes, I spend an immense amount of money on antique frames!

Well, there might be more, but now I need to get back to work. Busy all day …