OSLO ART & FASHION FESTIVAL 2018

  • Mouvements (Bevegelsene), 2015-2018, film photography, variable sizes

 

MOUVEMENTS (BEVEGELSENE), 2015-2018, photography, variable sizes. Exhibitions at Vérité, Grundingen 1-3, Aker Brygge, 0250 Oslo, Norway for Oslo Art and Fashion Festival, and Akers Mek in Oslo, Norway, 100 x 140 cm, Epson Archival Ink, mounted on kapa. The exhibition was supported by Epson Europe, Interfoto Oslo, and CopyCat Fine Art in Skøyen.

 

The Mouvements series reveals nuanced details in digital imaging technology. The images are informed by tensions in oil and water. The materiality of digital imaging technology, distance in viewing, and surreal representations in water forms are highlighted by minuscule film grains amplified after film scanning. The epistemology of water or way we come to learn and understand what water, is an ongoing endeavour. To then know what we are doing with technology, requires extended looking. The way something appears can obfuscate and reveal our relationship to the looking. Oil and water become elemental allegory for technocratic times. As Umberto Eco writes in several books on late modernity, images are read and our connections and relations are realised as a malleable surfaces. The natural beauty of the water is transformed by a hypnotic colour palette tied to screen technology. Viewing distances engage viewers in a sense of movement in stillness.

 

2018 Interview on Collect Oslo Art and Fashion Website

   

 


 

ELVELANGS 2018

 

 

ELVELANGS I FAKKELLYS, Oslo, Norway, public installations for autumn 2018 & 2017

2018: Dual Site Installation: Vesper Monumenter and Et Dypt Nett, Frysja in Nordre Aker Bydel and Smelteverket in the Vulkan Mathallen.

 

VESPER MONUMENTER, 2018, 8 sculptures, tin-foil and snow-markers, lights with blue photo-gel filters for twilight frequency, “Shimmer” video projection. The Vesper Monumenter sculptures stand as pillars reflecting light in the twilight to darkened landscape, and were part of a dual-site installation with Frysja in the Nordre Aker Bydel and the Et Dypt Nett light and sculptures at Smelteverket in the Vulkan Mathallen Arena, in Oslo, Norway. 

 

 

 

 

 

 

SHIMMER, 2018, single-channel video, original musical score.

 

 

 

 

 

 

MAKING OF ELVELANGS, 2018.

 

 

 

 

 

 

ET DYPT NETT, 2018, 8 sculptures with light, Smelteverket, Vulkan Mathallen.

 

 

 

ELVELANGS I FAKKELLYS, Oslo, Norway, Elvelangs is an annual celebration and night walk for the autumnal equinox.   The public is invited and suitable for all ages. Installations were made for autumn 2018 & 2017.

 

 




 


 

MOUVEMENTS 2015 – 2018

  • Mouvements (Bevegelsene), 2015-2018, film photography, variable sizes

 

MOUVEMENTS (BEVEGELSENE), 2015-2018, photography, variable sizes. Exhibitions at Vérité and Akers Mek in Oslo, Norway, 100 x 140 cm, Epson Archival Ink, mounted on kapa.

 

The Mouvements series reveals nuanced details in digital imaging technology. The images are informed by tensions in oil and water. The materiality of digital imaging technology, distance in viewing, and surreal representations in water forms are highlighted by minuscule film grains amplified after film scanning. The epistemology of water or way we come to learn and understand what water, is an ongoing endeavour. To then know what we are doing with technology, requires extended looking. The way something appears can obfuscate and reveal our relationship to the looking. Oil and water become elemental allegory for technocratic times. As Umberto Eco writes in several books on late modernity, images are read and our connections and relations are realised as a malleable surfaces. The natural beauty of the water is transformed by a hypnotic colour palette tied to screen technology. Viewing distances engage viewers in a sense of movement in stillness.

 

Exhibition for Oslo Art & Fashion Festival at Vérité and afterwards at Akers Mek. The series is available for printing on metal, vinyl, for limited edition prints, custom facades for public art. The series is part of the book: Textures & Movements.

 


 

ELVELANGS 2017

 

 

 

 

9 WORLDS OF IMAGE AND LIGHT, 2017, installation, Smelteverket, Vulkan Mathallen. The concept and plan was founded between Rachel and Smelteverket and supported by Torso Kunstartikler and Smelteverket. The drawings were a shared labor between Rachel Wolfe and Katarina Caspersen.

ELVELANGS I FAKKELLYS, Oslo, Norway, public installations for autumn 2018 & 2017

 

 


 

TEKNOVISUELL EXPERIENCE

  • Digital images, 2015-2016, printed at 61,04 x 76,2 cm (24 x 30in)

 

INSTALLATION OF DETAIL #5 at OTIS COLLEGE OF ART & DESIGN engages the relationships of body & space to image technology through the clarity of the perceived image. The imaging processes themselves displace and reform pigments and images, creating fuzzy borders. The Teknovisuell Experience series represents, through images of water, aesthetic and ethical qualities technology raises in our societies.

 

 

 

TEKNOVISUELL EXPERIENCE DETAIL  #5, VIRTUAL MATERIAL SERIES, public installation, Otis College of Art and Design Admissions Office, Los Angeles, California, 2017. The Teknovisuell Experience works are part of a larger body of work titled Virtual Material.

The images in Virtual Material involve several layers in the materiality of the image, systems and processes in imaging, the vision-body relationship, and ways civilisations form understandings of nature. From an empirical, materialist philosophical standpoint, the works reflect on age-old discussions between Platonic and Sophist ideas, and the places spiritual and scientific ideas are permitted. Through the emphasis on the ethereal nature of screen-based technologies, the Teknovisuell Experience Details take-up these conversations both through the processes in which they were created and in the results of the viewers interactions and memories with images. By engaging the physical body with the vision, the distance in viewing engages viewers’ bodies in the opportunity to look at processes otherwise invisible to users of screen-based technology, but evident to builders of technology such as R&D, the coder, manufacturer and marketer. The details in Teknovisuell Experience were composed of the decomposition of images up and downloaded through social media channels; 7 times for each image. The final images reconstitute a representation, highlighting the way images become a form of cultural ritualisation. By further manipulating the image to highlight degraded visual qualities, and print at large scale or clip sections out as fragments, the various installation formats available engage viewers in contemplation of the areas in an increasingly liquid society. The scale and application of the image evokes motifs and patterns found in traditions of totems and textiles. Still images applied as wall coverings, pillars, scrolls or flags. Digital gifs of the images afford exhibition on screens and move static light reflections, creating visually ghostly movements.