The backdrop for the project is the large current and future situation of migration and transgression of people. Both due to the ongoing tragic refugee situation and also due to the global climate change that forces people to escape and move. The mural consists of a variety of motives which interfere with each other in different ways. The combinations and compilations of the motives will hopefully lead to a certain intended disturbance and curiosity.
See also: Satellite of “Interferenza” in Piazza Roma
Interferenza is the ninth cooperative wall painting project of Torunn Skjelland and Vigdis Fjellheim
My artistic practice revolves around painting, both as an individual pursuit and through collaborative endeavors. I delve into the exploration of painting in a spatial context, particularly focusing on large-scale formats where color takes center stage. The craftsmanship of my work is of paramount importance to me, as I meticulously consider how brushstrokes, color choices, simplification, and the amount of information presented impact the interpretation of the artwork.
The subject matter holds a central position in my creative process and is intricately intertwined with photography. By means of painting, I engage in observation, often adopting a documentary approach to expression. Lately, my focus has been on questioning the established norms of aesthetic appeal, challenging the predetermined notions shaped by our Western education. I contemplate how our visual culture influences us and establishes a standardized set of tastes.
Through my artistic exploration, I aim to broaden perspectives and encourage a critical examination of our ingrained perceptions. By challenging the conventions of beauty and aesthetic ideals, I seek to prompt viewers to reconsider their preconceived notions and explore the diverse range of visual possibilities that exist beyond the boundaries of our traditional visual culture.
Vigdis Fjellheim, a visual artist hailing from Oslo, Norway, is known for her unique artistic approach. Her creative process revolves around series of paintings and drawings that draw inspiration from her personal archives and found photographs. Methodically collecting and selecting images serve as the foundation of her artistic practice, which delves into themes of documentation, classification, mapping, systematization, and archiving.
Her captivating works have been showcased at various exhibitions, both independently and as commissioned pieces. Notably, her project titled “Found, Selected and Reinstated, 182 Travellers -182 Relocations” comprised of 365 paintings, forming a conceptual and formal unity displayed at a hotel near Oslo. This series is based on her extensive collection of photos capturing people in public spaces, totaling approximately 3500 examples.
In her series “271 Glances, Classifications, and From Monday to Sunday Glances,” Vigdis explores the precise moment when individuals become aware of the camera, capturing their spontaneous reactions. The glances are meticulously categorized based on facial expressions, forming new groups that exclusively consist of curious, scornful, or aggressive looks.
Her most recent work consists of a series of charcoal drawings depicting images from the terror incident in Oslo that occurred the previous summer. These poignant drawings will be presented at the Drawing Biennale 2012, a significant event titled “Drawing as Expression,” held at Tegnerforbundet in Oslo during the months of May and June.
Vigdis Fjellheim’s artistry is a testament to her meticulous approach, thoughtful exploration of imagery, and her ability to engage viewers in profound contemplation. Her unique perspective and dedication to her craft make her a noteworthy contributor to the art scene in Oslo and beyond.