Gro Folkan

grofolkan.no

We live in a world that’s frustratingly defined by boundaries. Borders, stereotypes, definitions, religions all shoehorn people, places and situations into predetermined stereotypes. But as artists, it is our responsibility to look beyond these, scratch the defining lines to find meaning and open doors both physical and psychological. Artist Gro Folkan’s passion for the arts started in her early teens, Formal education in the arts only fuelled this drive further. Her first public exhibition was in Club 7, Oslo, 1967. It is the world in between that drives her, bringing it to life in her colourful canvases. Showing that, incoherence is where we shine the brightest.

As a society, do you think we have grown accustomed to ignoring the unseen and unknown in our busy lives?

Definitely. We are almost drowned continuously with sensory input and irrelevant information. Subtle signals from fellow humans and nature are overwhelmed. Again it is the collision between the big wheel and the little wheel.

How do you approach this personally?

By trying to avoid much of big city noise and big people notice, and by being privileged with access to unspoiled nature, especially in North Norway, and in my little-secluded garden in South Norway.

Do you think we place too much importance on labels and expectations?

Yes. I believe some things and some actions are on the good side and helps life but are often not appreciated, or even noticed. There is too much materialism, damaging the Earth and indeed ourselves.

What was the inspiration behind your body of work titled ‘Female Rune’?

Runes go back well over a thousand years as a special alphabet used in Scandinavia and northern Europe. But long before that, runes were used as magical symbols for spiritual entities and indeed for prechristian gods and goddesses. Christianity which came to our country between the year 1000 and 1300, suppressed femininity, in all kinds of ways, translating stories and poems from the prechristian era excluding the mention of all female goddesses, e.g. Freya, the Nordic goddess of love, sex, fertility and death. This is a whole universe of spirituality and mentality that has to be re-occupied!

LILITH, Acrylic, Oxidized Silver, Metaldust, Inteference Colour, 150 x 108cm, 2017

Could you describe yourself, using no labels?

There are two main categories of visual artists, painters etc. Decorators, investigators and researchers. We need both. I am definitely in the second category. I try and try to develop, make visible the vast part of reality yet unseen. My contributions are my pictures,not so much the physical pieces of work, but what they create in the minds of the onlookers. My pictures are doorways!

You’ve exhibited heavily across Scandinavia, Is there a part of the globe you would like to share your art with?

Yes. Europe, Berlin, London, but also more in neighbouring countries Sweden and Denmark, Japan, and of course, New York!

Would you say that your works are a stepping stone into an unseen world?

I hope that my life’s work will contribute to discovering ways to approach a little bit of this unseen world.

What is Gro’s favourite Norwegian food?

I like arctic food, fish and reindeer meat. END

BEFORE THE EYE’S FOCUS, Acrylic Inteference colour, Oxidized Brass, Copper, 150 x 120cm, 2014