UNSTABLE VARIABLES

7.10.11


20111007 acrylic, marker, pencil, filler on plywood 40x60,8 cm

6.10.11


42x60,8 cm acrylic and pencil on plywood

21.9.09


Events in a Bubble Chamber

1983 drawing with a screwdriver in wet acrylic on plywood


There are people who create art and others that comment on their creations. The commentator has other interests and different ways of expressing them than the creator. The artist expresses through the visible and tangible art work, the commentator through abstract play of words with their subjective understanding of the art work. Analysing an art object with words and academic logic may start series of literature engaging whole societies of scholars who enjoy each other’s capacity for examining and describing the implications of the art work in the absence of the art object itself and its creator. There rises a whole industry of words and their interpretation, and finally the art object belongs to them in the sense that they have created the base and the environment from where the art object has to be understood. Without this setting of convincing words and explaining logic the art object itself is nothing.

17.6.09


ALA (drawings)& ASPECT (welded iron) at The Artists Center, Toensberg, Norway

THE ALA SERIES 1999

The challenge of drawing lines that represent the realities of quantum mechanics occupies me constantly, going through different stages of forms likely to give me a clue.

How can I find a way to approach these themes and eventually come to an understanding that does not depend on intellectual capacities, but rather comes through a sort of intuitive ability?

My mathematical faculties are not famous and my ways of logic are rather spontaneous so I have to seek orientation with the only tool at my disposal: The pencil.

Lines may start at any point, but once put into motion, where will they go?
Will they continue forever, past the borders of the paper or board, will they leave the room and join the waves of particles that constantly surround and transpierce us?

Developing structures go either towards order or towards chaos. There are short moments of zero movement where the direction changes, where growth stops and decay starts. Patterns fall apart and rebuild.

The intention of my drawings is to visualise the process of forming and dissolving order, the waves of interacting particles exchanging energy so fast that it seems like solid matter to us.

The pale-yellow colour opens up the square. What is visible within the area represents one possibility out of millions, and no hard facts from which you can draw solid conclusions. I do not have to defend any scientific theory, nor do I need to explain the meaning of every element.
The liberty of interpretation is not violated.
I propose an image of events that take place every nanosecond, in and around us.

The square is neutral. It does not presuppose any special subject to be treated within its borders. You are not expected to compose in any classical way upon a square, it will always seem like a section of something vaster.
In this case, much vaster.


ALA I 1999 series of 12 drawings on plywood 122 x 122 cm

ALA II

ALA III

ALA IV

ALA V

ALA VI

ALA VII

ALA IIX

ALA IX

ALA X

ALA XI

ALA XII

14.12.08

18.11.08

12.10.08


NEFERTITI

14.12.06

OPEN FOR NEW INTERPRETATION

The work is left open for new and further interpretation. I would like the onlooker to see that it is possible to continue the development of forms and lines. I consider these drawings to represent intermediary stages of a never-ending process. I want my drawings and sculptures to be transparent and weightless. There will be no resistance and no gravity in this floating atmosphere. All movement would eventually come to a halt for a split second where time stops and space and order disintegrate. Time and space are concepts of the established order that we need for orientation in this complicated universe and to give it a meaning. We must be able to measure the circumstances under which we are living, else we get lost. Into this environment of numbers and words, we put ourselves and our dear objects, mountains and oceans. The more we measure, the more safe and comfortable we feel. We even want to measure the irrational, like art. How much art does this object contain? We invent rules for everything and define every single bit of this planet and beyond. Unveiling mysteries is a fulltime job for a lot of people. We are craving for absolute constants.

3.3.06

27.7.05

BLACKBOARD 1-2, 1973


BLACKBOARD 1, 1973 acrylic and white crayon on paper

BLACKBOARD 2, 1973

5.7.05

THE SEITON SET 1998 I-IV


SEITON I 1998, acrylic, pencil, filler on plywood

SEITON II 1998, acrylic, pencil, filler on plywood

SEITON III 1998, acrylic, pencil, filler on plywood

SEITON IV 1998, acrylic, pencil, filler on plywood

STELLARIS 1998, drawing on plywood 122 x 122 cm

25.6.05


LIB I

LIB II

LIB III

LIB IV

21.6.05

THE GREEN SET I-IIX 1978


THE GREEN SET 1974, acrylics and ink on paper

GREEN II 1974

GREEN III 1974

GREEN IV 1974

GREEN V 1974

GREEN VI 1974

GREEN VII 1974

GREEN IIX 1974

17.6.05

GRINDE SUITE 2003

Suite of 5 drawings 50 x 50 cm on plywood started on the 27. January 2003 for my friend Gunnar Grinde on his 60th anniversary.

GRINDE I 2003, 5 drawings on plywood 50 x 50 cm

GRINDE II

GRINDE III

GRINDE IV

GRINDE V

THE QUATR SERIES OF XII DRAWINGS 2000

The series is made from 4 rectangles thrown upon the plywood field with connecting lines between so that it makes seemingly solid compositions. But not very solid! The elements seem to be moving around.
What is happening if we don't look? The theme refers to electrons and photons buzzing around, colliding with others, giving sparks, like in a Feynman diagram.
(Richard Feynman said: What I cannot create I do not understand.)

QUATR I 2000, series of 12 drawings on plywood 122 x 122 cm

QUATR II

QUATR III

QUATR IV