Tittel: Påle fra Ålvik i Hardanger, malt i 8 farger + svart og hvitt.
Jeg fikk en tre-påle, 4 meter lang.
Opprinnelig kom den fra Fykse Grendahus hvor den hadde blitt brukt til å rulle opp et stort maleri på, med motiv fra Fykse. Dette ble senere gitt i gave til Folkets Hus i Ålvik hvor det nå henger permanent på bakveggen på senen der. Selve rullen hadde de ikke plass til, og donerte den til KH-Messen, hvor jeg så fikk den.
Pålen var hul, laget for hånd og den var veldig fin slik den var.
Jeg restaurerte den og malte den i et abstrakt mønster.
Det kan minne om slike mønster som brukes i veving eller strikking. Det har sikk-sakk linjer i svart og hvitt med motiv av et hus som blir repetrert.
Jeg har brukt åtte farger + svart og hvitt.
Det er de samme fargene som er brukt på mange av husene i Ålvik.
Jeg har brukt dem systematisk slik at ingen farge er dominant og alle er jevnt fordelt.
Jeg har forsøkt å bruke så mange fargekombinasjoner som mulig innfor bergensningen av mønsteret og lengden på pålen. Det blir nesten som et fargekart.
Fordi pålen er hul er den også veldig lett. Jeg fikk derfor ideen om å henge den fra ei grein i et stort tre i kunstparken til KH-Messen.
Den vil minne om en totem-påle, men samtidig vil det være en abstrakt skulptur som henger mellom jorden og himmelen mens den svaier sakte i vinden.
For å sikre den når det stormer vil den være forankret til bakken.
(bilder: Yvette Lardinois)
Title: Pole from Ålvik in Hardanger, painted in 8 colors + black and white.
Artwork by Frank Åsnes
I was given a wooden pole, 4 meters long. I was told that it had been used to roll up the cinema screen, at Folkets Hus in Ålvik.
It was hollow, made by hand and looked good on its own.
I have restored it and painted it in an abstract pattern. It has similarities to patterns used in weaving and knitting. It has zigzag lines in black and white with the shape of a house being repeated.
I have used 8 colors + black and white.
The colors are similar to those on houses in Ålvik.
I have treated them systematically, no color is dominant and they are all used equally.
I have tried to get as many color combinations as possible within the limitation of the pattern and the length of the pole. It is a bit like a color chart.
Because the pole is made hollow it is very light, so I got the idea to hang it from a branch of a big tree in KHMessen Kunstpark.
I guess it will look like a totem pole, but it will also be an abstract sculpture hanging between earth and sky, slightly moving when it is windy. It will be connected to the ground to prevent it in stormy weather.
(photos: Yvette Lardinois)
Frank Åsnes – Norway – sculpture
Frank Åsnes (b. 1962 in Sweden) lives and works in Sandnes. He is educated at the art academy in Den Bosch (Netherlands) and the art academy in Düsseldorf.
Åsnes has exhibited at, among others, De Ketelfactory (Schiedam in the Netherlands), CODA Paper Art at the CODA Museum (Apeldoorn in the Netherlands) and Sandnes Art Association.
His works have been purchased by the Culture Council, Museum de Verbeke Foundation in Belgium and the art academy in Den Bosch.
In his three-dimensional works, Frank Åsnes explores a number of materials, such as clay, concrete, MDF, cardboard and glass. All appear as exquisite constructions where proportions, spatial means, intricate patterns and color are carefully coordinated.
This, in addition to an outstanding craftsmanship and sense of form, gives the artworks a distinctive aesthetic quality.
Title: Dancer of Messen
Artwork by Bart Nijboer
When I first came to this place I was fascinated by how much the perspective of the surrounding nature changes with changes in the weather. Suddenly the mountains may have disappeared, hidden by the clouds. Or the water can make the sky seem endless and turn into a mirror on a windless day.
I wanted to incorporate this transformative quality into the work I made for KH-Messen Kunstpark.
To make it change with the weather and interact with its environment.
Bart Nijboer – the Netherlands – sculpture
Kinetic sculptures and moving installations.
His objects could be called a “constructive translation of nature”. Nijboer is fascinated by his experience of the world around him, in which he translates processes, materials and relationships into the images and installations he makes.
The fragile cohesion from which forms can originate and acquire their own character is captured in the moving constructions. The works seem to slow down time and to remain in a constant process between growth and decay.