Edvine Larssen

Making fragments from well-established literary works function as a base for visual works. The recent series aims to intrigue its viewers by offering extracts from writings of a familiar character, hiding its source by only revealing the page number. It might use text in a very straightforward and literal way, but tries — through its preparation, surface, size, and colour — to operate within a visual language (be it sculpture, painting, or drawing etc.) as well as keeping its original layout and content.

Mohan Veraitch

My work involves structures about technology, geometry, and gesture. The medium of paint enables me to fuse these concepts to create one larger system. Influences include different environmental structures such as cities, buildings, and computers. The paintings I make deal with structures and layers existing in the same composition. This is a reflection of the way technology and society deals with multiple information on a simultaneous level.

Thomas Falstad

The viewer is presented with elements that seem familiar, a sense of recognition and a relationship to place will arise. Thus the works appear to be representational. However, with the introduction of warped perspective lines, semi-figurative structures, shifts between mass:space and surface:illusion this sense of familiarity is being challenged. Emphasis is put on how they work both as an image and as a painting. The methods and the imagery are symbiotic. By placing painterly surfaces into geometric structures I intend to create a hybrid between chance and sober calculation.