About the artworks made of coloured paper:
After finishing my art-education in 1990, I started working with sculpture. The first sculptures were made in clay and ceramics, the latest in cardboard and coloured clothespins. The artworks that I started to develop in 2016 and which I now present in Coloured Paper does not so easily fit into the category of sculpture. So I would like to say something about how they arose and evolved. I wanted to work more directly with colours, and try to aply more abstraction into my work. Based on this vague ideas I started making some two-dimensional images. As a material I chose to use a serie of coloured paper: Mi Teintes from Canson. I had used this earlier when making drawings and sketches for sculptures. Cardboard, glue, knife and ruler I had also used a lot when making my previous works, so the choice felt natrually.
The colours in the Mi Teintes serie are all very nice and natural, and as a whole they apear very harmonious and well tuned. It consists of 50 different colours, but some are taken out of production and then new ones are added, so I had a total of 53 different colours. I wanted to use them all in an equal way, an try to examine each colour set against another, in colour-pairs. I calculated that 53 colours would give 1378 possible pairs. At the same time, I wanted to use many colours within the same image. By useing simple systems based on symmetri I was able to distribute the different colours the same number of time within each individual image. I also tried to achieve as many colour-combinations as possible. I mostly used 12 different colours. It is a clear and manageable number, and is divisible by 2, 3, 4 and 6 and therfore easy to adjust into a symmetrical system. These first things were very laborious, very time consuming and complicated to make, with constructions and calculations. Besides, the vast majority of them were to be considered as unsuccessful. I experimented with different types of glue at the time, and also different types of varnish to provide a protective layer. But the combination of glue and varnish was wrong, and it took a long time before I realised this, and before I understood how to solve it.
Nevertheless, it was a potential for development even in the most unsuccessful works. By sawing them into smaller parts and pusling different pieces together, new and unexpected possibilities would emerge. But the development went very slowly, and the frustration were increasing. I gradually gained a better grasp of the technique, and also a better understanding of what I was really doing. I then started to simplify shapes and colour schemse, and began working on a serie of wall-objects. By working in series and by concentrating on simple shapes and a limited selection of patterns, a natural flow arose in the work process and in the development of new objects. During this period I discovered some patterns that gave a rather striking depth effect. I discovered an interaction between the 2 and 3 dimensional which I found very exciting and interesting. In December 2018 I had my first exhebithion with these new objects. They were quite small, had roughly the same shape and size, but were all in different colours. I had used them all, so the exhibition was called Wall-Objects: 53 colours.
I still use the same coloured paper. Some new patterns have emerged. The wall-objects and panels have no titles, only a serial number. I use bookbinder glue (PVAc) mixed with starch glue. The substrate is MDF pretreated with an acrylic-binder, which I also use on the finished work. This protects the paper without affecting the colour. The paper is 160 g, it contains a lot of cotton: 50-66%, is acid-free and light-resistant. Each new work provides ideas and inspiration for the next one. I rarely work from a theme or concept. The colours I use and the work itself inspire. Also nature: Colours, symmetrical distributions and patterns. The colors themself are also very natural, with a predominance of earth tones, shades of gray and pastels. The objects and panels have a folkloric touch. The geometric abstract patterns that I use with vertical, horizontal and diagonal lines have great similarities with patterns used in weaving blankets and rugs, specially in the Navajo Indian’s rugs, the so-called eyedazzlers with a zigzag pattern.
During this period I have seen, read and been inspired by:
Donald Judd: The Multicolored Works
Josef Albers: The book To open Eyes and all the paintings Homage to a Square
Johannes Itten and his book The art of color
Matisse: Cut Outs
Blankets and rugs woven by Hopi and Navajo Indians
and traditional Norwegian Åkle blankets and bedspreads.