2004- Network. Linen thread, flax fibres, found objects.
110 x 140 cm
By integrating the worthless human waste into my nets, I am trying to make it worthwhile….
2005- Network. Linen thread, flax fibres, found objects.
150 x 245 cm
The title Fenris refers to the Norwegian wolf god, who according to the myth
was chained by Gleipnir, a chain as fine and soft as silk.
Kapp Mitra and Kapp Linné
2005- Network, linen thread, flax fibres, found objects.
110 x 120 cm
In my childhood I loved collecting shells on the beach.These man-made
objects I collected on the beaches around Ny Ålesund on the the Svalbard
350 x 235 cm.
2011- Network, cotton-thread, crochet laces, flax fibres.
HERE, NOW deals with traces of a life lived and what was/ the past, and time passing and
a changing existence. And the illusion of being able to hold on for a moment to a here,
2015- Each element 50×60 cm.
Laces, crochet elements, macrame.
2015- Macrame(crochet/knitting and various lace techniques)
Solaris is a tribute to the Sun. The Sun, center of the Solar System, is the source of all life and energy on earth. People have since the beginning of history understood the importance of the Sun, and it therefore has been the center of many ancient cultures mythologies. It is forever the bringer of all light and life, and its significance is unchanged, despite modern, scientific understanding of the Sun.
2012- Crochet laces, network, flax fibres. 170×235 cm.
2012-Crochet laces, network, flax fibres. 170×235 cm.
2015- Linen and cotton threads, flax fibres, metal pigment. Knitting and lace techniques.
In the northwestern fjords of Norway, people have made laces for centuries. Liturgy textiles and folk costumes have been decorated with lace, and especially the metal lace was popular.
It looks very much like the lace from the Toulouse region in France from early 17th century. Ernst Zeisler, a Norwegian expert in this particular field, has proposed the interesting hypothesis that it might have something to do with the Huguenots, who were expelled from France in the 17th century because of their religious beliefs. Some of them actually ended up in Norway, and it is a known fact that they brought with them carrot seeds and the art of making lace.
It is interesting that a group of refugees might be the source of what we today consider our national heritage. It is also interesting to think that while the lace tradition abroad was associated with the rich bourgeoisie, in Norway it was the peasants that decorated their costumes with silk, silver and gold. The story about the Huguenots and the art they brought with them inspired me to do my own version of the metal lace, AURUM, as a kind of homage to the expelled people.
2016- 180×250 cm
Cotton and linen thread, glue, macrame, crochet/knitting, various lace techniques.
I grew up on an island where we were often fishing with nets. Not only fish were caught in the nets; there could be crabs, shell and other creatures from the bottom. Sometimes there would be corals, “sea trees” that we called them. They were often big and had bright red, yellow or other colors, that after a while would fade away. In my fantasy they were greetings from a mysterious world deep down there, colorful and fantastic, unlike the world we lived in.
2018- 200 x 240 cm
Cotton and linen threads, crochet and knit elements, lacework and macrame. Cellulose glue and pigment.
When I was a student, in my twenties, I learned weaving and dying techniques. I was fascinated by indigo dying: As long as the material is in the dye bath it has no color, but lifted up from the bath it quickly combines with oxygen and becomes intense blue.
So, after many years, I found a bunch of indigo colored linen and cotton thread from my student days, and got the idea to make an artwork out of it. That means it took like 45 years from the material was dyed until it ended up in an artwork!