Norway

Giorgi Qochiashvili's colourful world is impressive to say the least. Inspired by poetry, Japanese culture and films of Jim Jarmush, he creates massive paintings...

`Shadow Within` Norway/USA 2010-2013 70 cm x 110 cm. (28 in. x 43 in.) Edition 6 + 2 a.p. 110 cm. x 150 cm. (47 in. x 59 in.) Edition 3 + 1 a.p. 100 cm x 150 cm. Edition 3 + 1 a....

90 x 120 cm Edition 7 `Residence of Impermanence` 2017-2019 My performance series, `Residence of Impermanence`, explores our relationship to animals, fire and Nature. Through the...

Art Deco Style Moon Vase in Porcelain with Hand-Painted Overglazed Floral Pattern. Designed by Nora Gulbrandsen (Kristiania 1894 - Oslo 1978) for Porsgrund Porcelain, Norway. Nordi...

`Residence of Impermanence` 2017-2019 90x120 cm. Edition 7 My performance series, `Residence of Impermanence`, explores our relationship to animals, fire and Nature. Through the element of fire, I have found a way to express myself in totemic ritualistic performance by burning decaying trophy animals. The element of fire is very symbolic. It represents both destruction and creation. Animals and fire have, in many ways, formed our culture since the dawn of Mankind. They have also served as essential symbols in myth, spirituality, art and religion. Fire has protected us and given us hope. Given us a means to evolve in all culture. In Greek mythology, remember Prometheus. In the hand of Man, fire can be anything. It is our ethics that define it. We have always mirrored ourselves in Nature. What we see staring back at us may not be the image we were hoping for. This series is a reminder to where we have come regarding our relation to Nature and the huge effects of climatechange in the Anthropocene. My work often juxtaposes the visually aesthetic and uneasiness. An underlying feeling of that which is lost often plays an important role. I like to explore work themes that emanate a cognitive dissonance in the viewer to reveal more profound truths. I regard trophy animals as symbols of Man´s vanity and presumed victory over Nature. To me, they also serve as symbols of our general attitude towards Nature. The flames gives each animal a last breath of life as it creates a new portrait. The animal is set free again, ending a symbolic circle of life. A closure if you will, both physically and existentially. The English-inspired wallpapers represent imperialism and a colonial idea from a time when we were obsessed by conquering Nature and other lands. These too are burned with the animals symbolizing a protest toward our autocracy towards Nature itself. The repetitive performance of burning each animal serves as both an offering and a liberation. This is a violent act, but also a meaningful and beautiful act to me. The animals` personality changes dramatically throughout the burning process. This cannot be planned and therefore the animals give off a sense of further individuality. In the process of burning animals, I am also taking an object of desire off the market for further sales. An act that hopefully will spark dialog our use of Nature, as well as where we want to be heading in the near future. Dialog foments change and action. I spent seven years collecting old trophy animals and taxidermy of different sorts. Many were bought through auctions, while others were given to me by hunters` or the widows of hunters for this specific project. During the following three years, I went through a somewhat cathartic process of burning and obsessively exploring the symbolism of fire and our relation to animals with my performance. The intention with my series is to connect the public to the crucial matters at hand through something tangible, personal, and symbolic. These three years of working with this series has made me so much more conscious of how delicate nature is and how we have taken it for granted for too long. A reminder of how crucial both animals, fire and nature, for our so-called progress in survival and progress. Through this process, exploring new questions and inviting a larger audience to ask their own crucial questions in the massive global changes we all are witnessing, is what I strive for. Loss of animal diversity, poaching and massive forest fires are increasing so rapidly that Nature itself is at a major turning point. A call for action is needed. Working so close to the animals in my project has been as uplifting as it has been obsessive and heartbreaking, as the animal's eye connects with you on a personal level as a human does in non-verbal communication. In 2016, the government in Kenya burned poached ivory worth an estimated 130 million dollars, making a clear statement that these tusks should only belong to a living animal. This dramatic action created meaningful dialog around the world beyond news and statistics. Fires are destroying critical areas of much-needed land vegetation, thus creating considerable effects on climate change. The meeting between Nature`s fragility and Mans` ego has shown that forests disappear, glaciers are melting, sea levels are rising and species become extinct. Humans have too easily exploited all parts of nature with our own culture and growth. In this short process, we have lost the very essence of what we are a part, and thus forget the very nature in ourselves. What can photography do to create questions regarding climate change, and help us move towards a sustainable future? In photography, we can ask important questions about changes in our surroundings and who we are—Man’s condition. Background: `Residence of Impermanence` has been exhibited at five museums and several galleries already (including a big solo show at Fotografiska, Stockholm (2019), and Arles Fotofestival (2019). Work from `Residence of Impermanence' is currently exhibited at the UCR: California Museum of Photography in Los Angeles with the exhibition `Facing Fire,` Art, Wildfire and The End of Nature in the New West.` This exhibition explores the ever-worsening Californian forest fires due to climate change. My previous environmental work has been nominated for the Prix Pictet Award on several occasions with my previous series for both Earth, Power and Fire themes. In 2005, my series `Arctic Technology` was shortlisted for the BMW Prize at Paris photo (through Scout Gallery, London). My other series has been shown in museums, including a symposium at Johnson Museum, N.Y. and been part of travelling exhibitions with WHATCOM (Museum of Washington) with the exhibition `Vanishing Ice` and a China tour on environmental issues with Three Shadows Photography...

"Signed and dated" With his sculptures, Jim Darbu invites you into a universe where bizarre stories unfolds - a universe where colourful, strange creatures ...

Urd Lillic Rug by Volver Studios Dimensions: W 250 x L 350 cm. Materials: Wool and tencel. Available in seven size options: 90 x 240 cm, 140 x 200 cm, 170 x 240 cm, 200 x 300 cm, 25...

Urd Red Rug by Volver Studios Dimensions: W 250 x L 350 cm. Materials: Wool and tencel. Available in seven size options: 90 x 240 cm, 140 x 200 cm, 170 x 240 cm, 200 x 300 cm, 250 x...

Verdande Blue Rug by Volver Studios Dimensions: W 250 x L 350 cm. Materials: Wool and tencel. Available in seven size options: 90 x 240 cm, 140 x 200 cm, 170 x 240 cm, 200 x 300 cm,...

Verdande Red Rug by Volver Studios Dimensions: W 250 x L 350 cm. Materials: Wool and tencel. Available in seven size options: 90 x 240 cm, 140 x 200 cm, 170 x 240 cm, 200 x 300 cm, ...

Skuld Blue Rug by Volver Studios Dimensions: W 250 x L 350 cm. Materials: Wool and tencel. Available in seven size options: 90 x 240 cm, 140 x 200 cm, 170 x 240 cm, 200 x 300 cm, 25...

Skuld Red Rug by Volver Studios Dimensions: W 250 x L 350 cm. Materials: Wool and tencel. Available in seven size options: 90 x 240 cm, 140 x 200 cm, 170 x 240 cm, 200 x 300 cm, 250...

Yggdrasil Blue Rug by Volver Studios Dimensions: W 250 x L 250 cm. Materials: Wool. Available in thirteen size options. Also available in custom measurements. Prices may vary. Pleas...

Yggdrasil Lillic Rug by Volver Studios Dimensions: W 250 x L 250 cm. Materials: Wool. Available in thirteen size options. Also available in custom measurements. Prices may vary. Ple...

Relieff Rug by Volver Studios Dimensions: W 250 x L 350 cm. Materials: Wool and bamboo. Available in seven size options: 90 x 240 cm, 140 x 200 cm, 170 x 240 cm, 200 x 300 cm, 250 x...

Uma Terracotta Rug by Volver Studios Dimensions: W 250 x L 350 cm. Materials: Wool and viscose. Available in seven size options: 90 x 240 cm, 140 x 200...

Royal Marine Rug by Volver Studios Dimensions: W 250 x L 350 cm. Materials: Wool and bamboo. Available in seven size options: 90 x 240 cm, 140 x 200 cm, 17...

Requem Rug by Volver Studios Dimensions: W 200 x L 300 cm. Materials: Wool and cotton. Available in four size options: 90 x 240 cm, 140 x 200 cm, 170 x 240 cm, and 200 x 300 cm. Als...

Frame Grey Rug by Volver Studios Dimensions: W 250 x L 350 cm. Materials: Wool and bamboo silk. Available in seven size options: 90 x 240 cm, 140 x 200 cm, 170 x 240 cm, 200 x 300 c...

City Grey Rug by Volver Studios Dimensions: W 250 x L 350 cm. Materials: Wool. Available in seven size options: 90 x 240 cm, 140 x 200 cm, 170 x 240 cm, 200 x 300 cm, 250 x 350 cm, ...

Cement Rug by Volver Studios Dimensions: W 250 x L 350 cm. Materials: Wool and bamboo. Available in seven size options: 90 x 240 cm, 140 x 200 cm, 170 x 240 cm, 200 x 300 cm, 250 x ...

Wall Rug by Volver Studios Dimensions: W 250 x L 350 cm. Materials: Wool and bamboo. Available in seven size options: 90 x 240 cm, 140 x 200 cm, 170 x 240 cm, 200 x 300 cm, 250 x 35...

`Shadow Within` Norway/USA 2010-2013 110 cm. x 150 cm. (47 in. x 59 in.) Edition 3 + 1 a.p. Archival ink cotton paper (archival pigment print) `Shadow Within`explores Man`s r...

`Shadow Within` Norway/USA 2010-2013 110 cm. x 150 cm. (47 in. x 59 in.) Edition 3 + 1 a.p. 100 cm x 150 cm. Edition 3 + 1 a.p. Archival ink cotton paper (archival pigment prin...

`Shadow Within` Norway/USA 2010-2013 70 cm x 110 cm. (28 in. x 43 in.) Edition 6 + 2 a.p. 110 cm. x 150 cm. (47 in. x 59 in.) Edition 3 + 1 a.p. 100 cm x 150 cm. Edition 3 + 1 a....

`In;Human Nature` Oslo, 2016 In this series, Christian Houge is inspired by our endeavour to connect Man to both the Cosmos and the Earth. By exploring Nature`s geometry in minero...

Okurimono 66 cm. x 200 cm. Edition 6 (+2 ap) 100 cm. x 200 cm. Edition 3 (+1ap) Euro 8,000 Pigment Print Okurimono (meaning both “gift” and “that which is in-between” in Japanes...

Edition of 3. 3 separate pieces make up this installation. 150 cm. x 150 cm. Pigment print mounted on aluminium. Framed in solid oak with museum glass. , `The need for images that can change us. ` – An account of Christian Houges images. “For example, one could say. A people is a “group of rational beings, bound together in agreement about what they love.” The kind of “people” they are, would be determined from what they “have loved.” If we then have a group of rational beings (animals excluded) who are “bound together in an agreement about what they have loved”, then it makes sense to call them a “people”, no matter what they may have loved. And for better or worse, what it is that they have found in common, through better or worse they are considered as a people” – Augustin, De civitate Dei – The City of God. ..............In this context, another series by Christian Houge becomes interesting, because it not only sheds light on the national romanticism and the kind of historical movement it is part of, but also because it provides us with a critical look at how we imagine landscapes, and we are reflected in them, in the historical and social sense. In; In;Human Nature...

`Residence of Impermanence` 2017-2019 My performance series, `Residence of Impermanence`, explores our relationship to animals, fire and Nature. Through the element of fire, I hav...

Images from soloshow a Buer Gallery, oslo. 2021 `In;Human Nature`2016-2021 Unique Piece `The need for images that can change us` – An account of Christ...

Okurimono Pigment Print Images from the Okurimono series is available in 3 different formats : * 50 x 75 cm : edition of 10 + (+2ap) * 80 x 120 cm : edition of 7 + (+2ap) * 113 x...

«Black swan» oil on canvas by Michael Andrew Phillips. A solitary black circle inhabits a white space layered on top of a dark yellow backgroun...

Set Of 2 Sail Sculptural Vessels by Karin Amdal One Of A Kind. Dimensions: Large: D 16 x W 13 x H 15 cm. Small: D 10 x W 10 x H 12 cm. Materials: Ceramic/stoneware clay. Available i...

So Nice To See You Sculptural Vessel by Karin Amdal One Of A Kind. Dimensions: D 20.5 x W 13 x H 16 cm. Materials: Ceramic/stoneware clay. Pieces are hand-made, one of a kind, and s...

Gateway Sculptural Vessel by Karin Amdal One Of A Kind. Dimensions: D 13 x W 13 x H 19 cm. Materials: Ceramic/stoneware clay. Pieces are hand-made, one of a kind, and sizes may vary...

Emerge Sculptural Vessel by Karin Amdal One Of A Kind. Dimensions: D 13 x W 12,5 x H 16 cm. Materials: Ceramic / Grey stoneware clay. Pieces are hand-made, one of a kind, and sizes ...

Set of 2 Stubbs indoor benches by Edvin Klasson Dimensions: D 120 x W 45 x H 60 cm Materials: Wooden frame, cold foam, painted steel and upholstery. ...

Apollo mantel clock by Edvin Klasson Dimensions: D 7 x W 16 x H 25 cm Materials: coated and uncoated laser-sintered,nylon, vinyl wrapping film, dyed feathers, and, clock mechanism ...

Dapple Lounge chair by Edvin Klasson Dimensions: D55 x W74 x H78 cm Materials: Powder coated steel, wooden frame with steel springs, cold foam and upholstery. Options: The textile...

Signed and dated. «It was you that put your foot into my habitat» was part of O. F. Hvidsten's first solo-exhibition «This will never pass». The works com...

Signed and dated. «Waited for someone, for something, for anything, for too long» was part of O. F. Hvidsten's first solo-exhibition «This will n...

Signed and dated. «So far, so good, and then...» was part of O. F. Hvidsten's first solo-exhibition «This will never pass». The works comprising the exhibition is first and foremos...

Signed and dated. «Taking a chance on the dancefloor» was part of O. F. Hvidsten's first solo-exhibition «This will never pass». The works comprisi...

`Shadow Within` Norway/USA 2010-2013 110 cm. x 150 cm. (47 in. x 59 in.) Edition 3 + 1 a.p. 100 cm x 150 cm. Edition 3 + 1 a.p. Archival ink cotton paper (archival pigment prin...

`Shadow Within` Norway/USA 2010-2013 70 cm x 110 cm. (28 in. x 43 in.) Edition 6 + 2 a.p. SOLD OUT 110 cm. x 150 cm. (47 in. x 59 in.) Edition 3 + 1 a.p. 100 cm x 150 cm. Edition...

`Shadow Within` Norway/USA 2010-2013 70 cm x 110 cm. (28 in. x 43 in.) Edition 6 + 2 a.p. 110 cm. x 150 cm. (47 in. x 59 in.) Edition 3 + 1 a.p. 100 cm x 150 cm. Edition 3 + 1 a....

Signed and dated. «Me and my girl» was part of O. F. Hvidsten's first solo-exhibition «This will never pass». The works comprising the exhibition is first and foremost a visual mem...

Signed and dated. «Late night apiphany» was part of O. F. Hvidsten's first solo-exhibition «This will never pass». The works comprising the exhibition is first and foremost a visua...

Signed and dated. «Doppler Modus» was part of O. F. Hvidsten's first solo-exhibition «This will never pass». The works comprising the exhibition is first and foremost a visual memo...

Signed and dated. «This mask will last a lifetime» was part of O. F. Hvidsten's first solo-exhibition «This will never pass». The works comprising the exhibition is first and forem...

Signed and dated. «Good sharks makes all the difference» was part of O. F. Hvidsten's first solo-exhibition «This will never pass». The works comprising the exhibition is first and...

Signed and dated. «O Donald, where aren't thou?» was part of O. F. Hvidsten's first solo-exhibition «This will never pass». The works comprising the exhibition is first and foremost a visual memory of two dramatic years since 2020 that have affected us all. Covid, and its consequences, have become a common point of reference that we will all talk about and bear remembrance to for a long time. But our memories are like life itself; dynamic and in constant change, often weakening with time, and can either ebb out or be reinforced. O.F. Hvidstens work in this period stand out as an anchor point for this common experience. Ole Fredrik Hvidsten...

Signed and dated. «Packing right» was part of O. F. Hvidsten's first solo-exhibition «This will never pass». The works comprising the exhibition is first and foremost a visual memo...

Signed and dated. «This is not a prison» was part of O. F. Hvidsten's first solo-exhibition «This will never pass». The works comprising the exhibition is first and foremost a visual memory of two dramatic years since 2020 that have affected us all. Covid, and its consequences, have become a common point of reference that we will all talk about and bear remembrance to for a long time. But our memories are like life itself; dynamic and in constant change, often weakening with time, and can either ebb out or be reinforced. O.F. Hvidstens work in this period stand out as an anchor point for this common experience. Ole Fredrik Hvidsten...

Signed and dated. «Meg og deg» was part of O. F. Hvidsten's first solo-exhibition «This will never pass». The works comprising the exhibition is first and foremost a visual memory ...

Signed and dated. «We aim high to keep them down» was part of O. F. Hvidsten's first solo-exhibition «This will never pass». The works comprising the exhibi...

Signed and dated. Nils Erichsen Martin's ceramics has a distinct style. He takes on a scientific approach with his artwork, researching into the different aspects of how form is per...

Okurimono 66 cm. x 200 cm. Edition 6 (+2 ap) 100 cm. x 200 cm. Edition 3 (+1ap) Euro 8,000 Pigment Print Okurimono (meaning both “gift” and “that which is in-between” in Japanes...

Images from soloshow a Buer Gallery, oslo. 2021 The need for images that can change us. – An account of Christian Houges images. “For example, one could say. A people is a “group of rational beings, bound together in agreement about what they love.” The kind of “people” they are, would be determined from what they “have loved.” If we then have a group of rational beings (animals excluded) who are “bound together in an agreement about what they have loved”, then it makes sense to call them a “people”, no matter what they may have loved. And for better or worse, what it is that they have found in common, through better or worse they are considered as a people” – Augustin, De civitate Dei – The City of God. A glacier is melting in the Alps. The consequences, if it completely disappears together with the other glaciers, will be catastrophic: The ocean will rise and livelihood will vanish for many. Yes, the very place we inhabit each and everyone of us, nation, the earth we walk on - the home we seek refuge for safety - will in part be completely gone. .....In this context, another series by Christian Houge becomes interesting, because it not only sheds light on the national romanticism...

`In;Human Nature` Oslo, 2016 In this series, Christian Houge is inspired by our endeavour to connect Man to both the Cosmos and the Earth. By exploring Nature`s geometry in minerology, the outer landscapes of the Moon are juxtaposed to inner landscapes on Earth. Rare minerals...