Beyond Boundaries

D

BOUNDARIES

Contemporary Art by

Scandinavian Artists

Kristine T. Bouyoucos Irene Christensen Loftur Eiriksson Eva Faye Kerstin Gustafsson Madeleine Harz Maja Kihlstedt Anders Knutsson Kristian Krokfors U1f Loven Ulla Magnusson So/frid Olette Mortensen Jan Peterson Fritse Rinds Ingvar StaHans Kati Toivanen Mona Waterhouse Irene Young

Organized by The FORUM Gallery at Jamestown Community College in cooperation with Th e James Prendergast Library Art Gallery November 7 December 12, 1992

D

BOUNDARIES

Contempora.y Art by足

Scandinavian Artists

This exhibition is funded in port by the Scandinavian Studies Endowment Fund of

Jamestown Community College and by the Fun d for the Arts in Chautauqua County,

which is managed by the Arts Council for Chautauqua County.

Beyond Boundaries: An Overvie"",

It is with great pleasure that we present

Beyond Boundaries: Contemporary Art by Scan­ dinavian Artists. This exhibition brings together pieces by eighteen Scandinavian artists work­ ing in a w ide variety of materials and styles.

While the show is organized around a geo­ graphic theme, it is unified as much by a recognition of modernist and post-modernist modes of expression as it is by the artists' shared heritage. The exhibition is a testament to arr's ability to transcend the limitation of notional boundaries and political ideologies and it points to art's capacity to speak to issues that know no geographic limit. Much of the work in the exhibition alludes to myths, memories, and cultura l tradition s particular to Scandinavia, but significantly the artists in this show have all gone well beyond the narrow limitations some­ times suggested by such approaches.

While this exhibition presents a cansider­ able range of work, it is by no means an alfempt to represent a complete survey of contemporary Scandinavian expression. Many decisions had to be made to constrain the size of the exhibition and to give it some semblance of curatorial focus. The preponderance of works we re­ viewed for possible inclusion in the exhibi tion was abstract or dealt with rather abstract artistic notions. For this reason, work tha t primarily addressed issues of representationalism was excluded from consideration. A few exceptions were made: we included some images that were generated by photographic processes and some images that use abstracted represen­ totion as an element to convey ironic or para­

2

doxical insight. We oIso excluded objects pro­ duced in the crafts-for-c raft-sa ke tradition. Clearly the crafts movement in Scandinavia is extremely sign ificant, but pieces from this movement seem to function at cross-purposes to much of the work we have included. Finally while the exhibition contains several excellent pieces of sculpture, many other equally significant pieces were excluded because of the overwhelming logisti­ cal problems and expense involved in shipping the works to jamestown.

Planning for this exhibition began over a year-and-a-half ago when The FORUM Gallery sent "Calls for Artists" to arts-related media in this country and in Scandinavia. We were some­ what under-p repared for the large number of inquiries this "call" generated we began get­ ting international telephone ca lls, cards, and lelfers on an oImost daily basis. Because of thi s high level of interest, we decided to expand the original scope of the show After agreeable talks with Kim Morris, then gollerycoordinatorat the james Prendergast Library Art Gal lery in jamestown, we decided to design a show that would be presented not on ly at The FORUM Gallery, but at thejames Prendergast library Art Gallery as well. We did further publicity on the exhibition and received additional inquiries from another wave of interested artists. By the time the deadline for submissions arrived, we had pockets of slides, catalogs, and resumes from almost one hundred potential exhibitors.

An exhibition of Scandinavian art is very appropriate for jamestown, New York. The city largely selfled by Swed ish immigrants in the

nineteenth cen tury, maintains active business, educational, and diplomatic ties to Sweden. By extension, area residents are quite interested in various aspec ts of Scandinavian culture at large.

Many Jamestown residents are proud of the town's ties to Scandinavia and have worked actively to promote a better understanding and appreCiation of Scandinavian culture. In this spirit, two organizations in jamestown mode significant contributions to thi s exhibition. We are extremely grateful to the Scandinavian Stud­ ies Endowment Fund at jamestown Community College and to the Fund for the Arts in Chautauqua County which is administered by the Arts Council for Chautauqua County With­ out the generous support from these organiza­ tions, this prolectwould not have been pOSSible.

While thi s exhibition is an important ini tiol exploration, it only scratches the surface of the rich diversity of work being produced by Scan­ dinavian artists working tod ay. Fortunately due to the success of this project, Beyond Bound­ aries is qu ite likely only the fi rst in a continuing series of exhibitions devoted 10 this Iheme.

-Don R. Tolley Gallery Director The FORUM Gallery

Kristine Growing up in Norway I was early taught the skills of knitting and needlework; it is port of the culture for all. Later I added weaving and quilting , attracted always by the unending pos足 sibilities of color and texture. Heritage I is an example af these skills employed all in one piece. Though traditional in background, one gets a fairly contemporary impression-I th ink of it as my aid life combined with my new The electrographics pieces are at the other polar end, dealing with a different age and different place entirely. Yet the subject matter often remains closely related in both media, describing nature, the seasons, emotional reac足 tions, and the manipulation of fiber in many forms.

I have also alwoys had a strong attroction to geometric abstrac tion in my graphic work, patterns and redevelopment of patterns com足 bined w ith intense color involvement.

Bath fibers and graphics ore each as a medium so rich in themselves, it oHen becomes a real balancing act. But by moving from one to the other I feel a reluvenation that preseNes the excitement in each art form.

T. Hordon Bouyoucos

Born: Oslo, Norway Resides: Pittsford, NY

Reviews, Publications, and Awards:

Selected Exhibitions:

Education:

Textures, Austin HaNard Gallery, Rochester, NY

B.S, State University of New York, Rochester, NY 1984.

Artium, Fagerbor Gymnasium , Oslo, Norway, 1964.

1992.

Graphics, Germanaw Gallery, Rochester, NY 1990.

One Woman, link Gallery, Rochester City Hall , Rochester, NY, 1987

Fiber for the Body, Pyramid Arts Center, Rochester, NY 1983.

Fiberorts Magazine, Sept./Oct. 1983 .

Works in Exhibition:

Heritage I, 1992, fiber, 35 x 37 inches. Courtesy of Austin HaNard Gallery, Pittsford, NY

Photography/Xerography, Pinnacle Gallery, Roches足

Winterforest in Shadow, 1992, electrographies, 34

ter, NY 1985.

Rochester Honor Quilt Travelling Exhibit, Rochester, NY 1982.

x 26 inches. Courtesy of Austin HaNard Gallery, Pittsford, NY Window with Circle, 1989 electrographies, 3 1 x 38 inches. Courtesy of Austin HaNard Gallery, Pittsford, NY

Kristine T Bouyoucos, Heritage I, 1992, fiber, 35 x .17 inches. Photo by len Rosen berg.

3

Irene

Christensen

Temple and Time, 1991

Reviews, Publications, and Awards:

Education:

Temple is the root of civili za tio n . It also is a place where man meets the sp irit of na ture and may reflect upon tim es past , p resent, and future Music makes you tra nscend into a nother world w here imagi natio n ca n wa nder and you can explore the universe. A Norwegian rock high up inJotunheimen embodies a spiri t just li ke the old Mayan sculpture in on a ncien t place in Mexico .

Man and nature are inseparable . We seem to hove lost the connection , and th a t is

Catalog, America 500, Centro Cultural Recoleta, Buenos Ai res , Argenti no , 1992.

"Art N ews," Art in Americo, M ay 1992 .

"Lotin-Americon Flavor Prevoils at Columbus Exhibi t in Rutherford, " by Eileen W atkins, The Sunda y Star Ledger, May 17 1992.

"Inspired by Norway, Mexico and Manhallan, " by Siv Ellen Omland, Norway Times, September 26, 1991

Art Study League, New York, NY VOSS Summer Schoal of Fine Arts, Norway, 1979 and 1981

Works in Exhibition:

Temple and Time I, 199 1 oil an linen, 48 x 36 inches.

Temple and Time 1/1, 1991 ail on linen, 48 x 36 inches.

Temple and Time.路 The Afternoon, 1991 oil on canvas, 25 x 19 inches.

wha t we are searching for

Born: O slo, N orway Resides: Tenafiy, NJ Selected Exhibitions:

Americo 500, Centra C ultural Recoleta, Buenos Aires , Argentina, 1992.

Spectrum, Lever House, N ew York, NY 199 2.

America, Ca rlos W illiams Center for the Arts, Rutherford, NJ, 1992 .

Temple and Time, Ward-Nasse Gallery, Soha, NY 1992.

Contemporary Artist 01 Genius, Passoic Community College, Patersun, NJ. 1992 .

The Con temporary American Immigrotion Experience in Art, tona Col lege, N Y 1992 .

Irene Christensen,

Temple and Time 1/1,

4

1991 oil on linen, 48 x 36 inches.

Photo by Eric Gu llelewi tz .

Loftur Eiriksson

I rarely thin k of my nationality in relati on to my art work. Nevertheless, it's probably written allover the work to a larger or smaller exten t. work with mixed media, using photography for representational purposes, and otherd isc iplines for more abstract qualities. Conceptually most of the work deals with monumentality and belief systems.

Visual arts and architecture were practi­ cally nonexistent in Iceland until the twentieth century. This is mostly due to the fact that Iceland was colonized, and the law prohibited people to change legal residence from their place of birth resul ting in farmer's societies with no cities.

Thi s partly explains my interest in monuments, but I a lso feel that photographs and other form s of art are often monuments themselves to ideas or spaces in time; sometimes in search for eternity The Icelandic sagos and the N ordi c my­ thology toke the place of monu ments in Icelan­ d ic cu lture. These texts from around a th ousand years ago can still be understood by the na tives since the isolation of the island has kept the language from changing. Some of the sagos tell the story of heroes w ho had physical and mental capacities to perform tasks outside the limita­ tions of modern belief systems as defined by sc ience and physics. Coincidentally the work I have in this show titled Fear of Flying/Falling is on one level a visual parallel to this tex t.

Selected Exhibitions:

Education:

Old W orks, The living Art Museum, Reykjavik, Ice­

M.F.A., Colifornia Institute of the Arts, Volencia, CA, 1991 B.F.A. , Pran Institute, Brooklyn, NY 1989

land, 1992.

The Col Arts Years , Main Gallery, Cali fornia Institute of the Arts, Va lencia, CA, 1991

Fear of Flying/Falling, M ain Gallery, California Insti­ tute of the Arts, Volencia, CA, 1990.

Homage fa Man Roy, Gallery Puchong, New York,

Works in Exhibition:

NY 1988 .

New Works, The American Cultura lCenter, Reykjovik, Iceland, 1987 Some Photographs, Gallery Makka , Reykjavik, Ice­ land, 1985 .

Fear of Flying/ Falling (port 2), 1990, type C color

Fear of Flying/Falling, 1990, type C color print, 69 x 48 inches. prin t, 69 x 48 inches.

Born: Reykjavik, tceland Resides: Los Angeles, CA

Laftur Eiri ksson, Fear of Flying/

Falling, 1990, type C colo r print, 69 x 48 inches.

Eva Faye

The paintings of Eva Faye ore containers for light : their heavily-worked surfaces like glow足 ing vessels that allow the eye to penetrate deep within . The work functions on several different levels of meaning. It may evoke a sense of stillness, peace, and contemplation , while si足 multaneously shimmering with an energy that palpitates on the canvas , shuddery quicksands of sensuality and light.

But what is most impressive about M s.

Faye's art is her constant and various invocati o n of light; the light of the sun on a leaf, streetlights in the rain , moonlight on the ocean , the flicker足 ing light of a train glimpsed through trees at night , sexual light, spiritual, healing light, the radiance of a mysterious other world.

Reviews, Publications, and Awards:

Education:

Review by Gearge M orgenstern , Aftenpasten, O slo, N orway, January 1992 .

Review by Paallvor Bergersen, Klassekampen, O slo, Norway, Moy 15,1990.

Catalog for Cross Currents, by B. H. Friedman & C hristofer Busa , Provincetown, MA, September 1990 .

"Abstractian,' by Rose Slivka, East Hampton Star, East Ha mptan, N Y October 26 , 1989 New Yark Foundation for the Arts Fellowship, 1990.

N orwegian Government G ronts, 19 86, 1989 1990.

M .FA, Hunter Callege, New Yark, N Y 1986.

B.FA , Parsans School af Design , New York, NY 1984.

Ecole Superieure D'Arts Graphiques, Paris, France, 1980.

Works in Exhibition: The Tenth Room, 1991 , oil, wax, sand , 32 x 32 x 2 inches. From the collection of Abby Terkuhle.

With You In Mind, 1991 oil, wox, sond on wood , 27 x 34 x 2 inches.

Untitled, 1992, oil, wax, sand on wood, 17 x 17 inches.

-Max B1099/ Anita Madeira

Born: Countryside near Oslo, N orway Resides: New York, NY Selected Exhibitions: Solo exhibition , UKS, Oslo, N orway, 1992.

Group exhibition, Arts in General, N ew York, NY 1992.

Exploration of Space and Surface, The W arld Bank Art SOCiety, Washington, D.C., 1991 Solo exhibitian, Furst/Sorensen Gallery, Oslo, Nar足 way, 1990.

Cross Currents, Fine Arts Center, Pravincetown , MA, 1990.

Abstraction, East Hampton Center for Contemparary Art, East Hamptan, NY 1989

Eva Faye,

The Tenth Room, 1991

6

oil , wax, sand, 30 x 30 x 2 inches.

Kerst;n Gustafsson

The artistic expression of the textile is lim­ ited only by fibers and the colors you decide the textile will contain .

Otherwise possi bilities are unlimited. Man's need for the warming material has developed into the modelling decorative.

Quilted wool was the first worming mate­ rial a~er rawhide . Tens of thousands of years aher the first quilting, this technique exits with a new purpose: the sheer artistic .

Kerstin Gustafsson masters the old tech­ nique. She has written textbooks on the produc­ tion of qUilted wool. The wark of producing the material for the pictures is, if not of minor importance, still only the means of creating a picture. The metaphors, the symbols in The Divine Tree, the life giving cross, the inscrutable, are all combined in one theme.

What you can see in Kerstin' s pictures is the brilliant light of colors and material. But the closer you get the more they contain, these picturesque sculptures.

Nothing more than little scoles on a woolen thread to make a wonderful piece of art-if you know how to do it.

To love what you belong to. The living.

- Bo Sporrsfedl, Editor Art Review, Synpunkf

Born: Stockholm, Sweden Resides: Ystad, Sweden

Education: Peinling Skool, ABF:S, Art School, Stockholm, Swe­ den, 1965.

Konstfalk School, Stockholm, Sweden, 1962-1964.

Reviews, Publications, and Awards: Konstsegment, by Orebro lans landsting and lena

Works in Exhibition:

Nessie, Orebro, Sweden, 1991

Tree of Hooven, 1991 felted wool, 55 x 4 1 inches.

Longing for Hoppiness, 1992, felted wool, 63 x 41 inches.

Kerstin Gustafsson, .

,

­

-.-

r

.

Tree of Heaven , ~1:

.

1991 felted wool, 55 x 41 inches.

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Madeleine Hatz

Reviews, Publications, and Awards: Born: Lund, Sweden Every summer Madeleine Hatz relocates Resides: New York, NY "Being Apparently Real," by Saul Ostrow, from her New York Ioh ta her ancestral home in "Abstract tnformation," by Ellen Handy.

Sweden, an an island off Stockholm. The flight "Where tdeas Come from ," by Bill Zimmer Selected Exhibitions: over is routine, but she begins to get excited Solo exhibition, Kulturhuset, Stockholm, Sweden, when the coastline of Greenland becomes 1992.

Education: visible. Such aerial panoramas are stimuli for Solo exhibition, Golleri Engstrom, Stockholm, Swe足 Academy of fine Art, Stockholm, Sweden, 1980.

her paintings. lund University, lund, Sweden, 1972,

den, 1992.

But Hatz is certainly no cartographer, al足 Group exh ibition , Ecstasy Shop, Dooley lecappella ine Ecole des Beaux Arts, Atelier 17 At. Goetz, Paris,

france, 1977 Gallery, New York, NY 1992. though one of her early subjects was the map of Group exhibition, Abstract Information, Sacred Heart the world. Shewas strongly influenced byJasper Works in Exhibition: University, fairfield , CT 1991 Johns then. She describes what she's aher in Stream Pointing If, 1990, oil and wax on linen , 27 x Group exhibition , Landscape, Haenah Kent Gallery, terms of "how to look at a painting."

New York, NY 1991 61 inches.

Hatz formerly used a lot of sawdust in her Stream Pointing VI, 1990, oil and wax on linen , 27 Solo exhibition, Bali Miller Gallery, New York, NY surfaces. "I am interested in nature," she says, 1988. x 61 inches . "but nature in the widest sense, in the way that a block of wood is nature." Nature today is about change, usually not very auspicious change, due to the vulnerability of the environ足 ment and the way this produces anxiety in us.

The way Hatz's paintings conceal their intent on first encounter the way that they make us mentally separate layers contributes to the insta足 bility but rock bottom, we realize that her work is inViolable, trustworthy paint (sometimes paint plus other materials) on canvas.

-Excerpt from Bill Zimmer's Where Ideas Come From Studio School, New York City

fv\odeleine Hotz, Untilled, 1990, oil, wax, sawdust on canvas, 64 x 144 inches. Photo by M. levin.

8

Mojo Kihlstedt

In Kihlstedt's new work, she embeds hand足 mixed paints into various textured surfaces which previously hod served to create a formidable skin . The abstractions are as much abaul the skin as they are about the shattered forms.

She tokes images random ly from the out足 side world-from a vari ety of sources from computer graphics to ancient signs, everyday objects , and architectural details-picking her images out of a hot, as it were, but transforming them utterly and more: she is like a spider dragging the image bock to her web, cocooning it within her dense pigment, and effecting a metamorphosis . Her newest imaging is clear and bold , yet the reference is entirely oblique.

Reviews, Publications, and Awards:

Education:

Fellowship, TheArtCouncil of Sweden, 1987 1986, 1985,1 983.

Fellowship, Edna Vincen t Milloy Colony, N ew York, 1982.

Residency, The Virgini a Center for the Creative Arts, Sweet Briar, VA, 198 2.

Fellow shi p, The MacDowell Colony, Peterborough, NH, 198 1 Fellow ship, The Yaddo Corp., Saratoga Springs, NY 1981

Norfolk Summer Scholarship Progrom , Yale School of the Arts, New Hoven , CT 1979 New York Studio School of Drawing, Pointing, and Sculpture, New York, NY 1977-1 979 The Royal Danish Art Acodemy, Copen hagen, Den足 mark, 1973-1977

Works in Exhibition:

The Unexpected and Related Forms, 1991

oi l, olkyds, sand, 28 x 36 x 1 inches.

Printout from the Pasl, 1991 oil, alkyds, sand, 23 x 30 inches.

Memory and Separate Ports, 1991 oil, alkyds, oilstick, sand , 28 x 36 x 1 inches.

Signs in Gold Ochre and Blue, 1991 oil, alkyd, 28 x 36 x 1 inches

-Dr. Barnaby Ruhe, Senior Editor Art/World Born: Stockholm, Sweden Resides: New York, NY Selected Exhibitions:

Swedish Artists in New York, Art Now Gollery, Gothenburg , Sweden, 1992.

Stockholm Art Fair, Jon Eric Lowenadler Gallery, Stockholm, Sweden, 1992.

Welfspringshow, Kenkeleba Gallery, New York, NY 1990.

Invitational, 55 Mercer Street Gallery, New York, NY 1988.

5 Painters, Lucky Strike Gallery, New York, NY 1983 .

Efte roors Udstillningen , Den Frie Museum, Copenhogen , Denmark, 1978 .

Ma io Kih lstedt ,

Printout from the Post, 1991 oil, alkyds, sand, 23 X 30 inches.

9

Anders

Knutsson

Morning of Memory One misty summer morning in 1987 I sot under a pine tree on an island in Lake George, as beoutiful as any Swedish skargdrd, and warm too, mourning the loss of my three best friends; numb, wordless, cold, trying to heol, trying to save myself.

How do I "make a picture" of my feors, worries, loss of love and loved ones? Or of my prayers for healing my wounds? My need to be forgiven?

One of the features of "abstract painting" that I like, is that it gives me a possibility to make the unseen and the unknown visible in an image, and create new untried pictorial sym足 bols. That is not only an artistic device, in my opinion, but can (if all goes well) make the image more universal and free it from the cultural ond historical ties that ineVitably come with particular pictures.

Winter Thomas Cole depicted Winter as an old man at the end of his life, and William Rush carved his marble Winter as "representing a child shrinking from the cold."

The allegories of our past yes, we can understand them all right. Fear of old age. Fear of death.

But Winter is also the turning point. In my native Sweden, the winter solstice was cel足 ebrated long before the arrival of the Prince of

10

light. Ritual fires were lit, sacrifice offered , and pawerful stories were told . Darkness has to yield, and the life giving light of the sun returns.

Perhaps they did not know but it happens through movement-not force. The movement is natural; therefore the transformation of the old becomes easy. It is in accord with time .

In Winter the life energy is still inside the Earth, the Womb. It is gaining strength and growing through rest. This principle of allOWing energy that is renewing itself, to be re-enforced by rest, applies to all kinds of similar situations: the return of health after sickness, the return of understanding after an estrangement. The tiny seed in the cold , hard-frozen soil , decides to live, to become a mighty oak.

Reviews, Publications, and Awards: Ughtscapes, by Barnaby Ruhe and Carlo M cCormick, University of Maine Museum of Art, 1990.

Gotes of Light, by Bo Nilsson and lisa Yokana , Will iams College of Art, 1989 Radical Painting, by Spector, Wei , Dick, ond Thomp足 son, Williams College Museum of Art, 1984.

Molter/Memory by Bo Nilsson, Douglos Feuk, and lars NiHve, lunds Konsthall, Sweden, 1982.

"GeHing on with Painting: by Marcia Hafif, Art in America, New York, NY 1981

Educatian: B.S.M .E. , Malmo Technical College, Sw eden, 1967 Cincinnati Art Academy, Cincinnati , OH, 1969

Works in Exhibition: Morning of Memory, 1987 acrylic and wax w ith oil,

73 x 49 inches.

Born: Malmo, Sweden Re.ides: Brooklyn, NY

Selected Exhibitions: Stephen Solovy Fine Art, Chicago, Il, 1991 Lightscapes, University of Moine Museum of Art , Orono, ME, 1990.

Gates of Light, William College Museum of Art, Williamstown, !VIA, 1988.

Keith Green Gallery, New York, NY 1986. luminous Pointing, Albright揃Knox Gallery, Buffalo, NY 1983 .

Molter/Memory, lunds Konsthall , lund, Sweden ,

1982.

Winter, 1991 acrylic and w ax w ith oil, 81 x 53 inches.

Anders Knutsson,

Winter, 1991 acrylic

and wax with oil, 81 x

53 inches.

1/

Krisfian Krokfors

In front of a Kristian Krokfors painting , one is invariably struck by the balanced coexistence of the abstract with the figurative and the natural with the illusory. As the eye adjusts to the unusual perspective, certain elements register as recog­ nizable objects in our environment but a meta­ physical qualily reigns in Krokfors' ·scapes."

A filling take-off paint for Krokfors' disrup­ tion of a conventional view of the world is the artist's predilection for a bird's eye perspective.

By distancing himself and his viewer Krokfors raises manifold questions abautthe experience of our surroundings. One obvious effect of the distant topographic view is that the scenes become anonymous-representative of any number of sights in the world.

Faithful to a view from above, Krokfors depicts the land as simplified geometrical forms .

In part, Krokfors attributes his Signature perspec­ tive to a series of architectural drawings on graph paper he executed in the late seventies .

Moreover Krokfors' affinity for architectural plan­ ning reveals a broader sociological fascination with the suburban landscape or as the artist aptly puts it, "built nature." Factories and stan­ dardized homes neotlyarranged across patches of land are recurring motifs in his oeuvre .

Both Krokfors' upbringing in the Northwest of Finland and his travels in the United States inform his vision of Western civilization 's orga­ nization of space. Although the painted land­ scapes have on oImost theoretical presence, much of Krokfors' work evokes the Finnish land­ scape of his childhood: countryside character­ ized by flat, vast spaces interrupted only by simple houses and dottings of trees. The works devoted to factories and farmland areas reflect Krokfors' immersion in the industrial landscape of America .

Krokfors celebrates his subjects, but not 12

without a conscious dose of sarcasm . On one level, the miniature factories and their lyrical smokestacks are simply playful, colorful, ab­ stract interpretations of common sights. How­ ever, at another level, the unpeopled and mark­ edly regulated scenes suggest that Krokfors sees a sad irony in our obsessive organization of human life. Krokfors creotes vivid images that poetically communicate our perplexing relation­ ship with nature and the structures we impose upon it.

-Marie Laurence Walker Dannenberg Gallery, 7992

Born: Ylistaro, Finland Resides: Helsinki, Finland Selected Exhibitions: Solo exhibition, Dannenberg Gallery, New York, NY 1991 Solo exhibition, Galleri Futuro, Stockholm, Sweden,

1991 Solo exhibition, Galerie Kai Forsblom, Helsinki, Fin' land, 1990.

Solo exhibition, SAGA Gallery, london, England,

1988.

Solo exhibition, Galleri Bacchus, Boros, Sweden,

1987 Solo exhibition, Galerie Graliort, Turku, Finland,

1987

Reviews, Publications, and Awards: "Nature 01 the Beast: Prize-winning Finnish Artists in New York," by Wil Stenger, Form, Function, Fin/and, Finland, June 1992.

Catalog, Kristian Krokfors: Paintings and Drawings 7979-7997, Pro» Contemporary Art, England,

1991 Catalog, Kristian Krokfors 1987, Galerie Kai1orsblom, Helsinki, Finland, 1987

Education: Advanced Printmaking, Croydon College 01 Art, England, 1977-1978.

B.A. , leicester Polytechnic, Englond, 1974-1977 Studies in Fine Art, University of Industriol Arts, Helsinki, Finland, 1973-1974.

Works in Exhibition: Three Factories, 1990, acrylic, 41 1/ 2 x 82 1 1/ 16 inches. Courtesy 01 Donnenberg Gallery, New York, NY Garden City, 1990, acrylic, 29 1/2 x 29 1/2 inches. Courtesy 01 Dannenberg Gallery, New York, NY

Kristian Krokfors, Three Foe/aries, 1990, acrylic, 41 1/2x8211/16 inches. Photograph courtesy of Dannenberg Gallery, New York, NY

13

Ulf Loven

Mr Loven c hose not to supply a statement abaut his work.

Born: Stockholm, Sweden Resides: New York, NY Selected Exhibitions: Pyramid Gallery, New York, NY 1991

W estbeth Gallery, New York, NY 1987

Aames Gallery, New York, NY 1973 .

Rykes Gallery, Dayton, OH , 1972.

Education: Art Students league, New York, NY 1970-1973 .

W itzansky Theatre School, Stockholm, Sweden, 1958足 1959

Works in Exhibition:

Exterior of on Interior, 1992 , oil, 50 x 56 inches .

Construction of a Landscape, 1992, oi l, 42 x 52

inches.

Archaeological Script, 1990, oil, 39 x 54 inches .

Presentment of a Journey, 1984, oil, 38 1/ 2 x

58 1/2 inches.

One Day's Travel, 1992, oil, 38 x 48 inches.

14

Ulf loven, One Da y's

Trave/, 1992 . oil , 38 x

48 inches.

Ulla Magnusson

My tapestries are pictures which tell about dreams, wishes, and different states of mind . often use my work to make on event o r emotion more explicit to me. I recall specific or special memories that are beautiful, or strong, or bod, or sad. Then I ask the colors for help to express my thought. I allow the colors to rule over me while I control the techniques on my two-treadle, upright loom. Color has 0 language of its own which, for me, is intuitive ond spontaneous.

It controls the direction of my visual state­ ments and it develops as work.

The range and variety of colors praduced by hand dyeing my own yarns increase my "vocabulary."

Since the language of color is personal, it does not always tell the some thing to every­ body.

My work allows for interpretation and involvement by each individual.

Born: Kristinehamn, Sweden Resides: Ka rlstad , Sweden

Education: Dept. of Design and erah, Gothenburg University, Gothenburg, Sweden, 1965-1969

Selected Exhibitions: Several solo exhibitions in Sweden, Norway, and Denmark.

Participated in three Nordic Textile Triennales in Iceland, Finland, Denmark, Norway, and the Faroe Islands.

Dimmensione Tessili, Italy.

Scandinavian Textiles, SeaNle, WA Eight Swedish Artists, Warszawa, Poland.

On exhibit in Sweden at Museum of Varm land Museum of Dalarna, The Bonk of Varmland, The Parliament House IStackhalml, The Rohsska Mu­ seum IGothenburgl.

Works in Exhibition: One Night in August, 1990, tapestry , 37 x 35 inches.

The Rood Forward, 199 1 ta pestry, 42 1/ 2 x 32 inches .

I •

i'

Ulla Magnusson, The Road Forward, 1991 tapestry, 42 1/2 x 32 inches .

Photo by Bildservice, Kar lstad, Sweden.

15

So/frid O/ette Mortensen

Parafine wax: My first interest in using wax was as a metaphor on the sohness, yet hard, the vulnerability and beauty of the material, as well as life itself Now I'm excited about the visual aspect, how one never can define exactly w here the surface ends because of its translucency How the material plays w ith the eye as in Good Game and creates a floating image of the plaster balls on top of the wax surface.

Born: Ertrevaag, Funnm0re, Norway Resides: New York, NY

Reviews, Publications, and Awards:

Education:

Catalog for Drift, by Tor Gammon, lista lighthouse Gallery, lista, Norway, 1992 .

Catalog for X3M, Gallery Haa Old Rectory, jaeren, Norway, 1989 "She Ploys with the Seeing," Goethenburg Post, Goethenburg, Sweden , May 16, 1992.

"Art Under the Lighthouse ." Stovonger Aftenblod, Stavanger, Norway, june 10, 1992 .

"Art in the Fields and Rolling Stones,' Kiossekompen, Oslo, Norwoy, july 18, 1992.

"Does the Blue Cow Exist on lista?" Dogbiodet, Oslo, Norway, july 19 1992 .

College of Art, Copenhogen, Denmork, 1975-1977 College of Art, Bergen, Norway, 1972-1975.

Selected Exhibitions: Level, Fralunda Cu lturehouse, Goethenburg, Swe足 den, 1992.

Drift, International Landscape Art Show, lista, Nor揃 way, 1992 Level, Arti st's Space, Bergen , Norway, 1991 Agro Art, Hedmark Historical Museum, Hamor, Nor足 way, 1991 P.5.I. Studio Program, p.s.1. Museum, New York, NY 1991 Nordic Art/ New York, F Bustamente Gallery, New York, NY 1991 X3M, Gallery Otso, Espa, Finland, 1989.

Turnpoinl, DetGule Palae, Roskilde, Denmark, 1988.

Solfrid Olelle Mortensen,

Good Game, 1991 porafine wax , plaster bolls, 2 x 63 x 63 inches. Photo

by Carl Georg Friedrich .

t6

Works in Exhibition: Good Game II, 1992, poro fine wox, ploster, op足 proximately 2 x 63 x 63 inches.

Don 't Travel For, 1985, parofine wax, wood fiber, leather 20 x 15 x 10 inches.

.Jan As on orti st, I use the tech niques of pr intmaking to crea te abstroct, surreal "m indscopes ." My work has mony influences including the dork w inter nights o f my na tive Sweden, micro-photography film noir psychol足 ogy and the ort of the Surrealists. The imagery of eoch print evolves through experimentation w ith techniques and intuitive decision making.

The titles of the finished prints ore general, ollowing for individual interpretation.

Born: Malmo, Sweden Resides: Brooklyn, N Y Selected Exhibitions: tpomal Galerii en Ku nstuitleen , Landgraaf, Hadand, 1992.

The Independents Show, Gallerio EI Bohio, New York, NY 1992.

DIS/ORIENTATIONS, 494 Gallery, New York, NY 1992 .

Prints International '92, Si lvermine Ga lleries, N ew Canaan, CT 1992.

Galeri j Propitia, Leiden, Holland, 199 1

Grand Prix, 3rd International Miniature Print Exhibi足 tion, Seoul, Korea , 1984.

Peterson

Reviews, Publications, and Awards: Purchase Award, 6th Annual Alabama Works on Paper, I 985.

Award Mole Formy Grafiki, Lodz, Poland, 1985.

Education: M.A., New York University, New York NY 1988.

Atelier 17 Paris, France, 1983-1984.

FO RUM Sch ool for the Arts of Prin tmaking, Malmo, Sweden, 1980-1984.

Works in Exhibition:

Homage to Kurosowa , 1985, color etching, 45 x 28 inches.

Number One, 1987 aqua ti nt etching , 44 1/ 4 x 36 1/4 inches.

Abstraction, 1988 , color etching, 52 x 36 1/ 4 inches.

The Dot, 1985 , color etching, 26 1/ 2 x 20 inches.

Jon Peterson,

Homage to Kurosawa, 1985 , color etching, 45 x 28 inches.

t7

Fritse Rinds

work primari ly wilh moss-produced, fac足 Born: Brande, Denmark Reviews, Publications, and Awards: Resides: Copenhagen, Denmark Danish Art '9 1 by Alex Steen, Fogtdal, Copenhagen,

lory-new induslrial ma lerial s and wi lh lig hl.

Denmark, 1991

Th ese maleria ls are dominanl in landscapes "Min nisverk: by G isl i Sig urdsson , Lesbo k,

Selected Exhibitions: and cilysca pes alike, also in formerly idyllic Margunbladid, Reykjavik, Iceland, N ovember 9

UrbonArtContest '92 , City ofMoubeuge, Moubeuge,

Sca nd inavia. A nd Ihey are here 10 slay As on 199 1

France, 1992 .

arlisl, I find il unavoidable 10 lake up Ihe Danish Art '90, by Ann l. Sorensen , Fogtdal,

Kulsto f '92 Copenhagen C ult ure House,

challenge of finding olher values in Ihese male足 Copenhagen, Denmark, 1990.

Copenhagen, Denmark, 1992.

rials, and , since 1983, have been doing a "Kunsten er," by Henrick Wivel, Berlingske Tidende,

Het Electrisch, Prinsessehof, leeuwarden, Nederland ,

ki nd of resea rch in lo Iheir latent scul ptural quali足 Copenhagen, Denmark, October 6, 1990.

1991

Danish Art '89 by Alex Steen , Fogtdal , Copenhagen,

Art in the City, Jubilee, N ikolaj Church, Copenhagen,

ties.

Denmark, 1990.

Autumn Exhibition, Charlollenborg. Copenhogen,

Denmark, 1990 .

Biennale, Danish Sculptors' SOCiety, C openhagen,

Denmark, 1990.

Denmark, 1989

"Boje t i neon, " by Birgit Hessell und , Aarhus

Stiftstidende, Aarhus, Denmark, February I 2, 1989

Works in Exhibition:

Pyramid, 1992, 48 soft tennis rockets, wire binders,

3 tube lig hts, 39 x 51 x 51 inches.

Light Obiecfs, 199 2, tube ligh ts, industrial materials,

59 x 98 x 98 inches.

18

Fritse Rinds, Pyramid, 1992,

48 soft tennis rackets, w ire

binders, 3 tube lig hts, 39 x

5 1 x 51 inches.

Ingvar Staffans

I w ant to get a grasp af infinity when I do my pain tings They are, for me, without ti me.

Often they look very old , and I hope that they are very old! One idea have is that my work cou ld be appreciated by people from different cultura l backgrounds and different times in history.

I often pa int sky and earth in the same picture-not separated , you see them in the same motif Sources of inspiration are often signs in nature, and since I live in Sweden, I've got a lot of inspiration from the runes and the stones that they are carved upon.

Born: Osterbotten , Finland Resides: Bjorklinge, Sw eden Selected Exhibitions:

Vorsalongen, Liljevalchs, Stockholm, Sweden, 1991

Solaexhi bition, Gallery Fim, Reykjavik, Iceland, 1991

Solo exhibition , Vilnius Art Gallery, Vilnius , li thuania,

1990.

Solo exhibition, Mykolos Zelinskas Museum, Kaunas ,

lithuania, 1990.

Solo exhibition, Gallery Galax, Stockholm , Sweden,

1990.

Solo exhibition, Gallery Luc ia no, Uppsala, Sweden ,

1989 & 1991

Reviews, Publications, and Awards:

The Book of Cloy, by Magnus Ringg ren , V6r Losen,

Sigtuna, Sweden, 199 1

"Sublime Poetry of Po inting, " by Kristina Ka rista m,

UNT Uppsa la , Sweden, 199 1

"Monumental and Intimate," by Hans Pettersson, UO,

Uppsola , Sweden, 199 1

Cata log , by Magnus Ringgren, Uppsala, Sweden,

1990.

Catalog, liljevalchs, Stockholm, Sweden, 1991

"1 Ching, Troidas ir st iklo korol iukai ," by Arunas

Vyzintas, Kauno Laikas, Kaunas, lithuania, 1990.

"Innri stilling, og huglceg 6hrif," by Efi, Morgunbladid,

Iceland, 1991

Education: M.A , Universilyaf Uppsolo , Sw eden, 1974.

Works in Exhibition: Anthem (Hymn), 1991 gouache and lusche on

handmade paper, 35 x 21 inches.

Cross 1/ (Kors 1/), 1991 mixed mediums, 19 x 20

inches.

Archetype (Arketyp), 199 1 gouoche and tusche on

ha ndmade paper, 35 x 21 inches.

Old Lines (Gamla lin;er), 1991 gouache and lusche

on handmade paper, 39 x 28 inches.

Cross I (Kors I), 199 1 mixed mediums, 19 x 20

inches.

Anthem

(Hymn), 1991 , gouache

Ingvor Staffans,

a nd tusche on handmade

paper, 35 X 21 inches.

19

Kati Toivonen

Reviews, Publications, and Awards: Born: Helsinki , Finland In the Edge of Memory Series, I examine

Bryon Lothrop Travell ing Fellowshi p, 1992.

Resides: Chicago, tL how we perceive our bodies while I intensely

"The Body Beautiful, " by M ary Trainor, Worcester inspect my own. By placing myself simu lta足

Magazine, W orcester MA, March 1989 Selected Exhibitions: neously behind and in front of the camero, I

"Unusual Photomontages Invite tnterpreto tion," by Flesh to Bone, two person exhibition with Mary become both the image and th e viewer In

Fronk Magiera, Worcester Sunday Telegram, Wessel, UMKC Gallery of Art, Kansas City, MO, close-up, my body emerges as mysterious and

Worcester, MA, February 1989 1992. alien, yet familiar and intimate. Memories,

Mossochusells Arts Lollery Grant, 1988.

Amalgamations, Gallery 2, School of the Art Institute

perceptions, and imagination become entangled

of Ch icago, C hicago, tL, 1991

Education: in a play o f shaping one another

Coyer, Kumoo, Ruttan, Sandback, Toivonen, Gallery M.FA, The School of the Art Institute of Chicago,

2, School of the Art Institute of Chicago, Chicago, Chicago, IL, 1992.

IL,1991 B.FA , Clark Un iversity, Worcester, MA, 1989

Evidence, Artemisia Gallery, Chicago, IL, 1990.

Photomontages, two-person exhibition , Atwood Gal足

Works in Exhibition: lery, Worcester, MA, 1989

Untitled, Edge of Memory Series, I 991 ~/pe C color

Sen ior Works, C lark University, Worcester, MA,

print, 24 x 22 inches.

1988 .

Untitled, Edge ofMemory Series, 19 91 type C color

print, 22 x 27 1/2 inches .

Untitled, Edge o fMemory Series, I 991 type C color

print, 22 x 28 inches .

Untitled, Edge ofMemory Series, I 991 type C colo r

print, 21 1/2 x 28 inches.

Koti Toivonen,

Untitled, Edge of Memory Series, 20

I 991 type C color

print, 24 x 22 inches.

Irene Landscapes w ith roots, doorways, win­ dows, ladders, trees reaching into the earth and high in the sky are all symbolic imagery that use in the pursuit of a deeper understanding of our inner and outer world. Shadows and burial grounds (modern as well as ancient) tie us together as human beings in a common bond that entails ways of dealing with the sadness, darkness, and loss that is a part of our lives.

In studies of Nordic mythology the Eddas, and the Indian Vedas, the search for meaning is so similar. ..

The search . . . appears repea tedly in various fantastic tales w here the heroes and herOines, gods and mortals, seek nirvana, the place of pure creativity, w here everything is conceived and is one, w hether in material form or pure consciousness. By con­ necting to this place w here we become one with the source, we experience peace and growth simultaneously. I find th e pulse of this source easier to connect with in nature than anywhere else. I try to bring this place, as I experience it, to the surface in the form of my paintings.

Manmade structures in the imagery have dual functions: as an invasion and threat to the order and balance of the natural world; and as a testimony to our ability to pursue higher con­ sciousness and to our capacity to expand our spiritual life.

On a more personal level, the work reflects strong emotional ties to the Danish countryside where I grew up. Bits a nd pieces of photo­ graphic imagery o ffer visions of great beauty.

By mixing those intimate visions wi th close-ups from thi s continent, I try in a magical way to find roots that I have severed.

Born: Ve jle, Denmork Resides: Long Island City, NY Selected Exhibitions:

Landscape Observed: Landscape Transformed, Islip Art Museum, Islip, NY, 1992.

A Sense of Place, Anthony Giordano Gallery, Satellite Gallery, Islip Art Museum, Islip, N Y 1992 .

Roofs, Saint Peter's Church Gallery, New York, NY 1992.

Photowork, Barren House, Poughkeepsie, NY, 1992 .

1Dth Annual Metro Show, C ity Without Walls, New­ ark, NJ, 1992.

Young

Reviews, Publications, and Awards: "Small, light Heorted \!l/orks," by Vivian Raynor, New York Times, NY January 19 1992. "/lAetro show brings out region's best for annual event at City Without Wa lls, " by Eileen Watkins, Sunday Star-Ledger, January 12, 1992.

"Drawing Moral Lessons from Nature, ' by Helen A. Harrison , New Yark Times, NY April 1 1990.

Education: B.A., Hunter College, New York, NY 1976.

Works in Exhibition: Cross Roads, 1991 manipulated photograph s, acrylic, 27 x 27 x 4 inches.

Danse Hill, 1991 manipulated photographs, acrylic, oil, pastel, 20 x 49 x 2 inches.

Irene Young, Cross Roods, 1991 manipulated photographs, acrylic, 27 x 27 x 4 inches. Photo by Nicholas Walster.

21

Mona

Mfaferhouse

Handformed paper conveys my images beller than any other media. I a m fascinated w ith the malleability of the wet sheet a nd its vast range of possibilities . Papermak ing offers a certain amount of control but it is also un predict­ able, intriguing , and mysterious. am concerned w ith the development of a personal la nguage con ta ined with in the formal structural system . I thus use paper as a means of self-expression , w here content is of more impor­ tance than technique.

The method I use consists of a wet and a dry stage: Wet Stage: I use abaca and eollon fiber w hich is formed into a sheet on a mold. The sheet is then transferred on to Plexig las, which is covered with cotton cloth. Excess water is removed from the mold using a sponge w hich also aids in couching the sheet. Texture is then added using a variety of methods .

Dry Stage Aher the paper is dry and removed from the PleXiglas, wax and paint are applied in layers, giving it a pilled and textu red surface, and a feeling of something old and worn like a fossil.

Symbols, representing all that was ever wrillen , are then incised into or drawn onto the rich waxy surface. Reflecting my roots, these symbols are often bosed on Scandinavian runes .

The word runes implies the mysterious and unknown and was used as a magical device as well as a mode of writing.

22

Working w ith paper and encaustic gives me a sense of history and universali ty I am interested in language, mark making , symbols, and systems of communicati on. In my work, seek to convey ancient rit uals and ceremonies and the interrelationshi p of all thing s since the beginning of time.

With affinity to the tribal and the contempo­ rary I intend for my art to have some sense of the magic as well as spiritual and intellec tual ap­ peal.

Born: Grbngesberg, Sweden Resides: Peachtree City, GA Selected Exhibitions: Solo exhibition , The Sownee Art Center Cumming , GA, 1992.

Stories, The Narra tive Art in Contemporary CraNs, The Luckenbach Mill Gallery, Bethlehem, PA Progressions in Paper, Arts Center, Athens, OH , 1991 Two person exhibi tion, Perspectives Ga llery Mi nne­ apolis, MN, 1991 Paper in Particular, Columbia College, Columbia, MO,1991 Art Energize '89, Milwaukee Art Museum, Milwau­ kee, W t, 1989 Solo exhibition, Dord Hun ter Paper Museum, Appleton , WI,198 7 Featured artist, Edgewood Orchard Galleries, Fish Creek, WI, 1986.

Reviews, Publications, and Awards:

Fiber Arts Design Book Four, Larks Books, As heville, NC,1991

W ho's Who of American Women, 17th edition, by Marq Vic, Wilmelle, IL, 199 1 1992.

Chicago Art Review, American References, Chicago, IL, 1989

Education: MA T., University of Massachusells, Amherst, f1/\A, 1978.

BJ A, University of Mossachusells, Am herst, f1/\A, 1975.

Coventry College of Art, Coventry, England.

Works in Exhibition:

Ancient Writings: Se ffing Boundaries, 1992, handfarmed paper, encaustic Ibeeswax and pig­ ment!, dyes, paint, 35 x 38 inches.

Ancient W ritings: Primal Energy, 1992, encaustic (beeswax and pigmentl, dyes, point, 37 x 37 inches .

Ancient W ritings: Primal Energ y I, 1992 , encaustic (beeswax and pigmentl, dyes, po int, 37 x 37 inches.

Mono Waterhouse, Ancient

Writings: Setting Boundaries, 1992, handformed paper,

encaustic (beeswax and

pigment!, dyes, paint, 35 x

38 inches.

23

A c kn

vvledgelTl en Is

0

Beyond Boundaries: Contemporary Art by Scandinavian Artists was organized by The FORUM Gallery in cooperation with TheJames Prendergast Library Art Gallery.

November 7 through December 12, 1992 This exhibition is funded in part by the Scandinavian Studies Endowment Fund atJames­ town Community College ond by the Fund for the Arts in Choutauquo County which is man­ oged by the Arts Council for Chautauqua County.

The FORUM Gallery Jamestown Community College 525 Falconer Street, P O. Box 0020 Jamestown, New York 14702-0020 (716)665-9107

FORUM Gallery Hours: Tuesday through Saturday 11 a.m.

(Thursday 1 1 a.m . 8 p.m.)

5 p.m.

Gallery Staff: Dan R. Talley Director Michelle Henry Assistant

Student Assistants: Catherine T Christian Nelida Ruiz

The FORUM Gallery presents significant and profeSSionally executed solo and group exhibitions of contemporary art and related programs , events, and services to both the artist and non-artist residents of Chautauqua County NY and the surrounding area. Our programs focus primarily on the lead ing edge of today's art. Through our programs, we strive to stimulate discussion, to challenge assumptions, and to present artwork relevant to the social and cul­ turallife of the general and special populations within our service area .

The FORUM Gallery is an Associate Member of the Notional Association of Artists Organizations .

Programs of The FORUM Gallery are funded in part by the Jamestown Community College Foundation ; The Faculty Student Asso­ ciation at JCC; The Chautauqua Region Com­ munity Foundation ; The Rolph C. Sheldon Foun­ dation; and our corporate and individual mem­ bers.

Catalog design: NeoText Editorial and prod uction assistants: Catherine T Christian and Michelle Henry Catalog printing: Register Graphics, Randolph, New York Unless otherwise noted, all photographs were provided by the artists.

Gallery Development CommiHee: Nancy Bargar Renate Bob William Disbro Mike Fitzpatrick Robert Hagstrom John Hiester

24

Gloria Lasser Julia Militello Don Mudge Alberto Rey Lois Strickler Gary Winger

All dimensions are listed in inches with height preceding width , then depth

© 1992, The FORUM Gallery

The James Prendergast library Art Gallery 509 Cherry Street Jamestown, New York 14701 (716) 484-7135

Prendergast Gallery Hours: Monday Friday 9 a .m. 830 p.m.

Saturday 9 a.m. 5 p.m.

Sunday 1 p.m. 3:30 p.m.

Gallery Coordinator: Ann Plyler Special thanks to former gallery coordina­ tor Marion M. Welch and to Murray Bob, director of the James Prendergast library and the Chautauqua-Cattoraugus library System, and to Catherine Way, assistant director Programs of The James Prendergast library Art Gallery are funded in port by the New York Council on the Arts under the aegis of the Decentralization Program and awarded locally by the Arts Council for Chautauqua County.

The FORUM Gallery

at Jamestown Community Col lege