04 Andalusia 1964

Generally, I say about my works that I am trying to give them wide room for interpretation. This is not hindered by the fact that many of my works have concrete associations at their base, or that beneath the work a picture may bring up associations I hadn’t thought about at its formation. This is a well-known phenomenon for many artists of my generation, and surely for many younger ones as well.

Click on the pictures to see them enlarged.

My last exhibition of 2020 was a viewing of 40 graphic works at Galleri Vanntårnet in Nesodden. It was so sweet for once to be able to only display graphic works! Over time, all of my old judgements against computer graphics have vanished. Whether some people think I should limit my work to lithographs, etching, or serigraphy does not bother me. The key matter is to show expression. Period!

In 1961 I began studying advertising at SHKS in Oslo. After two years of study I found that advertising work was not for me. Together with my girlfriend we travelled to Iran, and later to Spain. In these countries I began to experiment with photography as an artistic medium. However, this work did not resonate at SHKS, or later at the Kunstakademiet, so they were shelved.

After debuting at the autumn exhibit, with painting, in 1965 (the picture has unfortunately vanished) and after four years as a student at the Kunstakademiet in Oslo, I began my career as a teacher. First, as a teaching assistant at the Institute for form and color at the architecture school of NTH in Trondheim, and then as an amanuensis at the Institute for landscape architecture at NLH in Ås, then back again to NTH, and from 1979 as a teacher and eventually the manager for the painting school at SHKS. The entire time I was a teacher I found it difficult to combine that formal part of my career with my own personal artistic production. Aside from a display with colleagues in the Oslo Kunstforening in 1975, my business in the field was very small, and when I fell sick in 1981, I stopped activity in the studio almost entirely. 

When I - after spending some years in rewarding collaboration on projects in lighting and interior design - decided to turn back to the visual art, photography was a natural choice. The times around the year 2000 was to some extent characterised by a conceptual and postmodernist mindset, and unsure as I was, I found the best approach for me was through serial projects.

Eventually I cast off my uncertainty, and I found that I wanted to experiment with the photograph treated as a painted object. This is an approach I choose to this day. The computer became a welcome tool in this process, and continues to be.

After I felt secure with the PC as a tool in my painting projects, decided to take things a step further. However, my first graphic works were characterised by the then current critical reluctance towards computer graphics. To get away from these criticism by the puritans, I called this work serigraphy, and designed them so that it would take a trained eye to see the difference.