Category Archives: Paintings

Around Holmavatnet, The last Snow.

08 Monday Apr 2019

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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.

“Den Siste Snøen”- Galleri Hagalid

30 Thursday Aug 2018

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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: http://www.hagalid.net

Reineknuten

Reinarknuten. Akryl på plate.

 

 

Reineknuten

Reinarknuten. Mezzotint.

 

 

 

Hagalid

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

 

 

Austmannaskaret

“Austmannaskardet” . Akryl på plate.

A commission for Etne Omsorgssenter.

03 Tuesday Jul 2018

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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.

23 Monday Apr 2018

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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.

13 Tuesday Mar 2018

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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.

05 Thursday Oct 2017

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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.

 

New pieces for Bryne!

13 Monday Feb 2017

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A solo exhibition will open at Bryne Kunstforening on February 18th. Life has been very hectic in the studio, working on several large canvases of which two were prototypes.

I went for a carefully selected range of motifs, some mainly focused on the snow and shadows, others more intricate with many layers. I would like to present a few of the new pieces here. Please read on!

The piece titled “Olalia” stands out as the most complex, and must admit it almost drove me of the cliff at some point. The vild moorland with specks of snow is indeed very hard to simplify and brake down into small color patches. It means small patches, and a lot of them! I also continued my little experiment from recent works, featuring some small birches in the foreground.

olalia-170x125

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

A large version of “Vaulo” was way overdue, and I was curious to see how the massive rocks would turn out. After a few rounds adding shapes using masking tape and some grey, dark and green shapes, the texture was still too smooth seemingly without any language. saying “Look at me, I’m made of rock”.  I had to go more organic, and applied some paint using a palett knife and a beaten up old paintbrush (the kind that is way overdue for the waste bin). This kicked the painting back on track, having created a texture that allowed me to stain and sand down, bringing out a structure that emulates the rocks of this place really well. The big green patch in the front was also in need of different tones in order to function.

vaulo-180x130_edited-1

“Vaulo” 180×130 cm. Acrylic on canvas.

Bjergane is a part of Midtre Etnefjell with a quintessential Norwegian west coast rock formation. I just love the way the edge curves and slopes, casting it’s shadows towards Mjåvatnet (a lake) gently nested just below the foreground (hence not featured in this painting). This is not your typical landscape painting, with dramatic peaks and graceful trees in the foreground. I wish to promote the beauty of a more subtle dynamic in nature. A landscape shaped by the enormous forces of the glaciers that would slowly grind down the rocks through eons of time …

bjergane-170x125

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

“Vikafjellet” revisited!

20 Tuesday Dec 2016

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Having worked as a professional full-time artist for some 18 years, I feel fairly confident about my M.O. during the work on my main series of paintings. However, sometimes things go sideways, backwards and occasionally nowhere. For those reading my previous post about Vikafjellet, you might remember the 160×130 format I presented as a finished work. Well, the piece has been bugging me for some time, sitting in the studio corner. There was something unresolved about the composition, after all the usual layers and features were applied. 

I decided to make this piece into an experiment. Adding dark patina, some additional sanding (thus exposing the acrylics making it difficult to apply terps and oil colors) and some more clouds and mist. The lower section really bugged me, as the shape of the snow in the foreground seemed odd and not playing very well along with the rest of the composition.

The darker tone makes for more of a dramatic feel to the piece as it now sits. I’m very content and will certainly not be afraid to revisit works in the future.

Anything can happen …

vikafjelletii-160x130

The first “Finished state”

vikafjellet-ny-versjon-160x130

The current version.

Vikafjellet i to ulike format.

31 Monday Oct 2016

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Det vart endeleg tid til å ta for seg eit nytt motiv frå bildene eg tok av Vikafjellet i sommar. Eit motiv sto fram som ein kandidat med stort potensial var dette, tatt ut gjennom bilvindauga. Av ein eller annan årsak ser det ut til at det dukkar opp hytter i mange av dei motiva eg har plukka ut no den siste tida. Dette er ikkje bevisst, men det gir ein ekstra dimensjon til arbeida, synes eg. Her ser ein små spor av menneske i ellers urørt natur. Eg la også inn detaljer, om enn ganske forenkla, av eit autovern og ei skjæring der vegen går. Ein veg som om vinteren byr på store utfordringar når ein trossar naturkreftene og tar seg over med bil. Sjølv på sommaren må ein vera merksam på storfe som har eit ganske avslappa forhold til det å vera mjuk trafikant på høgfjellet.

Eg valgte å utføra to versjonar av dette motivet, og ein ser av resultatet at små endringar gir store utslag. Det bakerste partiet er gjort i to heilt ulike fargenyansar, og eg er usikker på om eg synes det eine er bedre enn det andre. På ein måte er den forenkla paletten på det miste formatet veldig kompakt og gir grafisk slagkraft, men samstundes er det interessant å ha ein meir kompleks oppbygd palett når ein jobbar med eit større format. Forgrunnen var vanskeleg å løysa på den største versjonen. Som ein ser, er det lagt til litt ekstra snø, noko som var nødvendig for å få komposisjonen til å fungera. Ein må til tider ta seg visse friheter …

vikafjellet-150x75

“Vikafjellet” 150×75 cm. Akryl og olje på plate.

vikafjelletii-160x130

“Vikafjellet” 160×130 cm. Akryl og olje på lerret.

Vikafjellet

31 Wednesday Aug 2016

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Vikafjellet 160x130

“Vikafjellet” 160×130 cm. Akryl og olje på lerret.

Eit arbeid som starta veldig klønete og usikkert, men utvikla seg til eit positivt første verk med motiv frå Vikafjellet.

Meininga var å bruka eit heilt anna motiv, der det var mykje vegetasjon og dermed mange grøntonar i forgrunnen, samt ein foss som stakk seg gjennom nedre halvdel av formatet. Eg bestemte meg difor å leggja ned ein del grøn og kvit struktur under grunninga, som eg kunne pussa meg ned til på eit seinare tidspunkt. Etter kort tid gjorde eg eit valg som er svært uvanleg for meg. Eg fann ut at motivet hadde for lite snø, og bytta til eit nytt foto. Normalt sett vil ikkje dette ha så mykje å seie, men dei tidlege underlaga, som no ikkje korresponderte med det nye motivet, “hjemsøkte”meg gjennom nestan heile prosessen.

Dette førte til mange ekstra lag for å dempa understrukturen, særleg den grøne. Eg lot litt stå igjen, ettersom det på enkelte parti fungerer svært bra, men mykje av dette måtte dekkjast til, då det stadig dukka opp når eg gjekk over med sandpapir for å jobba meg nedover i laga.

Altså er det lurt å planleggja godt, og gjera gode valg frå starten av.

Den vesle hytta var også svært plagsom, med sitt stadig påtrengande nærvær, som ein liten raud knapp inne i eit hav av nedtona jordfargar og kvit snø. Eg tok sjansen på å la problemet få stå til eg kom til siste laget med uttynna kvit oljefarge. Den skoddeaktige effekten blei siste mulighet til å leggja ei slør over dette elementet. Ja, eg kunne heilt ha utelatt hytta, men eg synes det er fint å ta med små menneskeskapte element i bilda der det finnes.

Det er rart kva litt “tåkelegging” kan gjera!