Imaginative ornamentation, full of associative content. Oriental and playful freedom that can make one speechless. Sensitive and soft use of color, gives the 'figures' good interaction.

Sigmund Skar

Visual Artist

The drawing has a classic, centered structure. You may not notice it right away. The upper left and right corners flank the non figurative motif that spreads out in all directions from the center. This creates a movement in the drawing - a visual structure that is both concave and convex at the same time. The line, palette and contrast in the cold blue tones taste of Arne Ekeland's drawings, "The Last Shots" (1940) and "Sisters of Freedom" (1957-58), but the big story is missing. Maybe there are figures hiding in this landscape - actors in a story we do not know the content of?

The eye scoures the surface in an eternal movement of eight, and as soon as a figure is glimpsed in the corner of the eye, it is gone again. I imagine that they are there, that they are hiding in the mold. Like figures in the clouds, formations in the stars or the groke in the dark.

Ellen Marie Sæthre-McGuirk

Associate professor, Nord University

The image appears at first glance as an abstract play with shapes and colors, almost like a mosaic. Gradually, some figures and concrete forms appear. A face. An upper body that mixes with other forms in a kind of dance. Another figure is sitting with his back to the viewer. The shapes and colors flow into each other in an endless rhythm. Like waves. It's chaotic. Pulsating. The strokes of the image meander like a large worm, or many small worms, on the paper, and the gaze does not rest. At the same time, we sense a resistance in the figures, as a stagnation, a reservation. A reflection.

André Gali, Art communicator in the Oslo municipality's art collection. 

I like to rest my eyes on this picture. The contrasts make it dynamic: Beautiful lines and chaos, struggle and progress, loneliness and sisterhood.

Kari Bergset, socionom and research fellow

The motif is made up of shapes that are reminiscent of hair that curves down a back or spring leaves that embrace each other up a tree. The flat surface swarms with lines moving upwards, as if you are witnessing a flower opening towards the sky. At the top of the picture, we sense two heads, perhaps the head of the Virgin Mary and Jesus, which are surrounded by a shape that in this context may resemble a halo. Mother and son (if that is what we see) look into the picture and an empty white area, as if they are looking inwards into infinity. The work gets

a character of being a kind of battlefield between intense movements, rhythms and contemplation.

André Gali, Art communicator in the Oslo municipality's art collection. 

I think - that it must be thought of as a connection of energy, movement and rhythm in a form. It is something that, to a greater or lesser degree, is not in a state of stagnation. A standstill can also be a concentration - that something is collected in such a way that it is no longer possible to sense as movement. A concentration can be the opposite of equal forces, which means that something can be held, locked. Or there may be a minimum state of energy that has the same effect. Something about thinking about the landscape through acting in it, treating it. Something about concentration, movement, holding something and letting go of something. Such things .... Think specifically about what is actually happening. Look at a painting by Willem De Kooning (which is obviously a trace of

something performative) and a performance by Chris Burden.

Stein Rønning

Visual Artist, retired Adjunct Professor at:

Kunsthøgskolen, Bergen, Statens Kunstakademi, Oslo og NTNU –

Norges teknisk – naturvitenskapelige universitet