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This text has been generatet by "Google translator". I am sorry if it is not everything is correct.

My background as a painter:

I was born and raised in Sauda in Rogaland in 1951. One of the interests in my upbringing was photography.

I started with oil painting in 1975. I had started working as a civil engineer, but needed to have something else to do in my spare time. I have been working on painting and was very keen on art painting. In 1995 I got my first exhibition at a gallery in Bergen. This was a great success, and it obviously led me to work even harder whith painting. From that time, I had about five solo exhibitions a year for a long time in various galleries, art associations etc. Mostly in Western Norway. During the last ten years I also had some exhibitions abroad, among others a gallery in Solingen in Germany. From about 1993 onwards I had weekly teaching and personal guidance in art and painting of eg. art educators Magnar Moen and William Nicolaysen.

Location / Atelier.

I live and have a studio at Krokeide in Bergen. Here I also have frame workshop, showroom, warehouse, drying room etc.

Comment on my paintings

Atmosphere: The mood means a lot in my pictures. It is often a quiet, mysterious mood without disturbing elements. The light is a fictional setting that should not be explained by morning / evening / night. It should thus be up to the viewer to find out what he / she is experiencing.

Colors: Colors and combinations of these are important to me. I put them against each other and see how different combinations work together or separately. The colors are also used to give my pictures the right mood, glow or energy. It varies a little over time which colors or color combinations I am most concerned about.

Structure. I am a hot supporter of oil paint. Not because it is practical, but because in my opinion it gives the best results in terms of glow and color shades. In paint, in parts of the picture surface, very pastost. Use a lot of paint knife to apply the paint. This varied surface treatment seems to me to be the qualities and properties of the oil paint the pictures an exciting sense of authenticity which is important to me. It also gives an almost three-dimensional effect. The paint can be taken and felt on.

Simplification. In all my pictures I try to simplify. I remove details I think are not important to bring out what I am concerned about, namely the shapes and the surfaces of the motive. It is thus quite common that I do not paint doors and windows in my houses. It is also very nice to have people in my pictures. This is because I want to focus on what I am concerned about: form, color and mood. Not on aother things.

Balance chaos / drilling. It is always important to find the balance between root and order. "Not too much and not too little" use of my effects: A little coincidence of paint coats, some fact "splashes" paint, some stains on the walls, a tiny bit of color contrast in the right places, tuned color combinations that are neither drilling nor "carnival".

Motive. I paint pictures in different motif groups. What determines the motives is a bit different. There may be places that mean a lot to me or it can be motifs that are particularly suited to exploring what I am most concerned about: colors, light, mood, the structure of the oil paint. Some motives have also been chosen because I want new challenges. Examples of this are sheep wool, snow surfaces, industrial smoke, etc. However, when I retrospectively look at my production, I see that it is a lot about Western Norway, and especially about the business sector. But this is not something I aim for in advance, but it is just a reflection of what I am concerned about.

Design Groups.

In the last ten years I have painted various motives:

- Maritime buildings. This is probably the motive group I have painted most of. It is not because I am very busy with maritime houses, but because they are particularly well-suited to work with what I am particularly concerned with, namely shape, color, structure and mood.

- House on land. I believe that this is the motive group that most clearly states that I am very concerned with simplification. Clearing the motives too much detail, including windows and doors make it only the main shape of the houses that remains, which is the motive. No details. But in addition to these, in my opinion vague forms, I can freely romp with colors, composition, mood and paint structure.

- Landscape - Certainly from places that matter to me, such as the cottage in my winter landscape. I also had a specialization project at painting series from special places. Example: Bergen, Gudvangen, Sauda, ​​Haugesund, Skudesnes etc.

- Nature details: I am particularly concerned with tree trunks.

-Sheeps. Don't know why this theme appeared in my head. Maybe because they are very all right? Besides, I like that they call on a smile with many people