Nils Erik Gjerdevik
Gjerdevik鈥檚 works derive from a more extensive figurative universe and would seem to possess an almost Gaudian method of creating architecture where the building structure with its catenary arches and hyperbolic paraboloids doubles as both structure and ornamented tableau. Architecture is, after all, the most obvious analogy to Gjerdevik鈥檚 practice. Not merely by virtue of the relationship of painting to scale and the serial progression of his works on paper. To Gjerdevik, architecture proved an eternal source of inspiration and like structural engineering 鈥� man鈥檚 point of reference in nature 鈥� his works activate a physical and psychological relationship between space, picture plane, and viewer. By virtue of its scale, the main work in the exhibition could almost be characterised as a building structure. Its sheer size calls for more than a wall to show it. The painting requires a room to itself 鈥� if not an entire storey. Gjerdevik鈥檚 works usually embody potential for his paintings to be shown in major architectural and social contexts.
The exhibition addresses a specific part of Gjerdevik鈥檚 practice through works never previously shown: a 265 x 739 cm painting from 2008 and a suite comprising thirteen works on paper which were the last works Nils Erik Gjerdevik produced. Initially, the works were not created to appear in the same exhibition. Nevertheless, the consistent presence of abstract notations in black constitutes a common thread from the painting to the works on paper. Or perhaps conversely, the common thread is traced from the works on paper into the painting? If we look at the enormous main work in the exhibition, it is equally difficult to decide what constitutes the foreground and background in the painting. The black grid-like pattern competes in intensity with the turquoise plane of colour and it is difficult to determine which layer was applied first. In this way, the painting eludes the precept of the classic painting principle stipulating that the background come first. The flatness and sheer size of the work substitute the experience of looking at a painting with looking at a fragment of an unending but personal universe.
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Gjerdevik鈥檚 works derive from a more extensive figurative universe and would seem to possess an almost Gaudian method of creating architecture where the building structure with its catenary arches and hyperbolic paraboloids doubles as both structure and ornamented tableau. Architecture is, after all, the most obvious analogy to Gjerdevik鈥檚 practice. Not merely by virtue of the relationship of painting to scale and the serial progression of his works on paper. To Gjerdevik, architecture proved an eternal source of inspiration and like structural engineering 鈥� man鈥檚 point of reference in nature 鈥� his works activate a physical and psychological relationship between space, picture plane, and viewer. By virtue of its scale, the main work in the exhibition could almost be characterised as a building structure. Its sheer size calls for more than a wall to show it. The painting requires a room to itself 鈥� if not an entire storey. Gjerdevik鈥檚 works usually embody potential for his paintings to be shown in major architectural and social contexts.
The exhibition addresses a specific part of Gjerdevik鈥檚 practice through works never previously shown: a 265 x 739 cm painting from 2008 and a suite comprising thirteen works on paper which were the last works Nils Erik Gjerdevik produced. Initially, the works were not created to appear in the same exhibition. Nevertheless, the consistent presence of abstract notations in black constitutes a common thread from the painting to the works on paper. Or perhaps conversely, the common thread is traced from the works on paper into the painting? If we look at the enormous main work in the exhibition, it is equally difficult to decide what constitutes the foreground and background in the painting. The black grid-like pattern competes in intensity with the turquoise plane of colour and it is difficult to determine which layer was applied first. In this way, the painting eludes the precept of the classic painting principle stipulating that the background come first. The flatness and sheer size of the work substitute the experience of looking at a painting with looking at a fragment of an unending but personal universe.
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