The process-based method has at the opening of Precious Periphery. Subsequently an interactive been at the center of this work, though without overshadowing installation will remain where visitors will be able to test what- the form of the final products. Halvor has mainly worked on a ever telepathic abilities they may have. In the experiment, two series of sculptural elements that constitute an installation. The wish to make skin.
The group of qualities that we praise as obviously valuable the observer conscious of these relationships pushes Halvor to will be disrupted with things we often categorize as waste. The experiment with materials, scale, form, surface and, above all, audience will thus be confronted with an open situation that will his own outlook, in an insatiable and seemingly constant flow of need to be pigeonholed and dealt with by each person individu- questions and renegotiation of method that concerns both the ally.
Halvor forces amazed by the contradictions in the exhibition, and also of focus- himself to investigate, describe and doubt his own intentions ing on individual experience as a thing in itself. What is the sta- and their results — like a hermeneutic circle where the interpreta- tus of subjective interpretation today? Ambivalence within sculpture or painting. Why is art important, by the contradictions and similarities of the body and building and how can it change and influence us?
Is it at all possible to understand get in the way of seeing an architectural whole. But I work site-specifically. That investigate expressive, irrational and mimetic aspects, as opposed is, I take local features as my starting point. In an interpretation, to systemic, logical and rational ones.
It may turn out verging on these have the potential to transcend themselves. At num, I will make spatial installations that interrupt the architec- the same time I want to conserve some of the energy from the ture. By applying various treatment to different materials such as process in the finished pieces. Like that I can perhaps help to ex- wood, polyurethane and leftovers from building processes, I will pose something around how we relate to fundamental problems. The presence of some elements will be charac- to bring out certain features of a room.
The architec- 42 ture and my work meet each other, but they stand back to back. The binomial nomenclature system for classifying They stand together, but in a kind of non-communicative way. Neoclas- important to point out that this is my starting point, though. The not very solid or obvious. They flout the expectations to what the point in time at which the process has been stopped may lead building may contain both in an overwhelming and a more sub- to astonishment.
Some pieces are tall and narrow, some wide, dued way. Large amounts of treatment and thought is contrasted some flat and low, another tall and wide.
But in each piece there with unfinished work and use of untreated materials. The contact between treated field and a method? All appear to be ex- theology, biology, architecture, etc. This can make it somewhat tremely heavy, but are actually quite light and manageable.
They hopeless to do research, which often becomes arbitrary and de- have a large volume, but are still fragile and malleable.
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The choice termined by the context that the artworks are going to appear in. I like that a lot. The solid Linneanum meets my sculp- method has been to create more room for randomness. I try to tures, which are on purpose built with a technique that is alien.
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The style is neoclassical, and corresponds with the imperial mindset of the 18th and Often, though, I wonder how capable I am, and how capable the 19th century, when Western ideals were exported to all corners observer is, to delve into an artwork and associate freely. Inspiration and imagination things we see. The potentiality of the art- the search for something original: What was there before every- works lies somewhere between trust on the part of the observer thing? In a physical and intimate level, and to create friction.
This is necessary, I think, if unrestrained mental and tions it triggers.
- Antika Gudar Namn.
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So the pos- possible to nudge the associations and thoughts of the observer sibilities of art depend on what kind of social space the institu- in a certain direction, in the sense of a perspective that expands tions are able to create, or make available. Knowing is one of the most important tools we society. An opportunity to pause. In my view, it has never been more important to discuss shape of graffiti and street art.
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Through graffiti I became inter- the human need to categorize, our values and automatic search ested in the traditional art world. Graffiti embodied energy and for answers. It has never been more important to get people to drive, but turned into pure design and typography. I felt a strong pause or to provoke questions about the saturation of physical re- need to be able to focus on and deal with questions about myself; ality or even ask existential questions. Why do we need answers? I think it also had to do with a notion of and need for freedom In my work, my pieces are in a way ambassadors for my philoso- that I had in my late teens.
The things I want to highlight may be percent dedicated to or interested in. I had an image of art as free; a forum distinct, still reflect or contradict one another. Both me, decide the pace and formulate the purpose and meaning. They will be reunited in autumn ;. Photo by Markus Feichter. This one's for a friend but it can also fit into battle cattle as the texas wooly buffalo. They usually stay out if it but will side with cattle if at all. Treats for the Battle Ox. Our bull, Govinda, loves being one with Mother Earth! Farmer working with his oxen on a rice terrace in Mu Cang Chai, Vietnam.
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