Kunstnerverksteder cs55

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    Anngjerd Rustand
    Arne Ingvaldsen
    Astrid Sleire
    Carl Martin Hansen
    Eva Kun
    Linda Morell
    Marianne Berg
    Trudi Jaeger
    Vigdis Hareide
    Blå, flyter.
    Rød, hjerte
    Greensword, an exhibition of drawings.
    Membran, an exhibition of drawings.


Membran, an exhibition of drawings.

Light From A Grey Interior
Drawing’s boundless wealth materialised

Subtly, with the delicate effects of variation, Vigdis Hareide speaks to the observer in the grey tones of the drawing. Here you must finely tune your senses to barely perceptible wavelengths.
Then, this exhibition in Stavanger Kunstforeningen’s cellar locale reveals itself, generously and with copious riches. Enlisting charcoal, pastels, and crayon, Hareide transforms her surfaces into non-figurative expressions, each work with its own pulse: in part vibrating out into the room, in part receding into its own closed world. The associations are manifold– here are pictures that evoke minimalist music, for example, Steve Reich’s sensitive, infinite variations, ceaselessly expanding in space and time.
Here are also references to “op art” – in particular, drawings such as “Markerer forskjeller over tid” (Notice Differences over Time) and “Lager små hopp over, stadig over” (Make Small Hops Over, Constantly Over) outwit our visual perception: we imagine we see movements in a two-dimensional, static surface.
There is, nevertheless, one problem: the titles. Here Hareide attempts to combine description and poetry, at times with quasi-lyrical results: “Sirkulerer til alt blir ullent” (Circle Until All Becomes Blurry) and “Prøver med vinger for flyktighetens skyld” (Try with Wings for the Sake of Transience). These titles are so striking they vie for attention with the drawings, completely unnecessarily.
For these are meticulously rendered drawings – trying for the artist, treasures for the viewer. In fact, the drawings may be regarded as meditations on the uniqueness of drawing – on the creative process that transpires partly on paper, partly in the mind of the artist. Before us is the boundless potential of drawing materialized, manifesting in such a way that the elements in these works often appear concrete, physical – there is a sensual, almost erotic transaction between sender and receiver. The structures coalesce only to disperse again in the same instant. No sooner have you detected one form than it dissipates into the multitude of other forms and possibilities. Thus Hareide escapes into her own pictures, an enigmatic and distinctive artist.

Trond Borgen. Stavanger Aftenblad, 02.03.2000.

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