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.

Fra og med 7.mai 2022 stilles 70 av mine arbeider ut i Vestfossen Kunstlaboratorium.

Jeg ble enig med kunstnerisk ansvarlig Morten Viskum om å vise bredden i min produksjon, og jeg tok med bilder helt fra 1963.

Utstillingen består hovedsakelig av fotos i stort format med variert motivkrets, selv om hovedtyngden er interiører og «corrida de toros» - tyrefekting.

Tittel på utstillingen er «OPPLØPSSIDE». Tittelen har referanse til min forrige utstilling «SISTE INDRE» i Vanntårnet på Nesodden, et sirkulært rom.

Vestfossen Kunstlaboratorium er et flott sted å stille ut, med en topp profesjonell stab.

Den 12.mai – uken etter åpningen på Vestfossen - åpnet utstillingen

«UPPER CUT» i galleri KB Contemporary i Oslo.

Dette er bilder jeg tok - med Gunnar Frydenlund som medhjelper - på et profesjonelt boksestevne i Jordalhallen i Oslo 1.april. Utstillingen er kuratert av Knut Blomstrøm, galleriets eier og suverene sjef.

Mitt forhold til boksing er – i likhet med mitt forhold til tyrefekting – preget av ambivalens. Men begge temaer har omfattende historie som kunstnerisk motiv.

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.