| utstillingsprogram | lokalet | samlingene | kunstskapet | cafe | lenker | kunstnere | bli medlem | arkiv | om arkunst


utstillingsprogram 2004                                              arkiv
08 - 23 mai Hilde & Spilde
05 - 20 juni Børje Sundbakken - Brite Hindal
4 - 19 september Jan Freuchen - Susanna Hesselberg
9 - 24 oktober Anne Fløttum - Ellen K. Solberg
4 - 19 desember John Paul Cunningham - Ellen Frøysaa
  A R E N D A L    K U N S T F O R E N I N G   A R K U N S T.N O

John Paul Cunningam og Ellen Frøysaa

Ellen Frøysaa viser utstillingen "Asbjørnsen og Gud" i galleriets annen etasje.
Kunstnerens statement:

"Asbjørnsen og Gud.." bakgrunn for ideen vil jeg beskrive slik:

For oss som vokste opp på 60/70-tallet var folkeeventyrene og Bibelen hverdagskost. Jeg vokste opp i en liten Sørlandsbygd nær Grimstad. Husker godt hvordan læreren min, på barneskolen, med stor innlevelse fortalte sine opplevelser om hvordan Gud hadde hjulpet henne å finne nøkkelen til bilen, gjort henne frisk av forkjølelsen og at Gud alltid så oss. Med samme innlevelse fortalte hun om Askeladden og alle hans forsøk på å vinne den vakre prinsessa, Espens mot og alle hans skremmende motstandere ga god næring til fantasien. Vi startet dagen med morgenbønn og avsluttet dagen med aftenbønn.

Jeg har til denne utstillingen forsøkt å gestalte noen barndoms-minner. En del av vår kulturhistorie er en "mikstur" av Gud, tusser og troll. Religion, fiksjon og bonderomantikk flettet sammen. Vi ble fortalt som barn at noen av bildene var sannheter andre var oppdiktet. Historiene handlet om snille engler og troll som spiste barn til frokost. Vi så aldri englene eller trollene i virkeligheten, så vi kunne fritt lage våre små private forestillinger om hvordan alt hang sammen.

Jeg har laget min tolkning av vår kulturs arketyper. Figurer som eier både evnen til å hjelpe og skremme. Arbeidene er 60 -105 cm høye skulpturer. Figurene er figurative og laget i grov steingodsleire. Ellers vil jeg på utstillingen i Arendal kunstforening vise en serie keramiske veggobjekter kallt ; kroppspråk, hvor lerretet er et utsnitt av kvinnekroppen. Man vil også finne ulike bruksgjenstander som porselenskopper og beholdere.



John Paul Cunningham, viser utstillingsprosjektet Anathoth.

These works of art started as a dialogue in response to concerns I have over my own coldness towards tragic conditions in the world today. At the heart of the work is my desire to confront an inability to relate myself to another person in regard to tragic circumstances. I would like to come to a place that reveals compassion, to have sorrow and find my moral action. The main theme of the work leans towards the tragic and a state of desperation, but ultimately is the wish to give out a cry of hope. I would like to think these works, in someway, create a safe environment, a form of sanctuary or refuge for the heart to search and find its hope. The process has led me to question my own character and that of the world we create around us.

movement Is there a common prayer that emanates from the heart of mankind? I can only look into my own heart and hear its groanings. I look at a shiny plastic world and find it to be a veneer, wrapping something quite desperate. This age expresses an idea about a global community. It is possible to have a comprehension of this society's ideas, even an insight of its realities. But what are its moralities? This question is important because the state of our very humanity is at stake. Is it not? The word morality has taken on a negative aspect, a feared word that can inhibit choice. I think the character of morality in truth is linked to love; its a governing word in respect to how we act towards another. Personnaly I struggle, in the grey melee of right action. Somehow paralysed and dazed by the overwhelmed catalogue of conflicting issues. The flashing images that make up this modern moment are so bewildering, to react or really know, can seem impossible; like trying to take a breath beneath dark water. For me, my eyes hear a growing cry of a human heart in a desolate place; its destruction is not of a mechanized nature and the boarders which are broken down and crossed are held under no treaties, yet are sacred definitive lines that delineate our very selves. I find my heart lacks the desperate prayer of love, which remains the wellhead of humanity; its waters are a source of life from which spills beauty. The impact of this society upon the individual and their relationships to others and the world must be accounted for. What is it that defines humanity? Is it the capacity of the intellect or that of our heart?

Anathoth The title Anathoth is taken from a prophetic bible narrative in the book of Jeremiah, which is concerned with bondage and a vision of coming freedoms. The work itself is comprised of twenty -one pieces, divided into three stages. The main body of work is painting, but there are also sketch books, objects made from wood and a film. Most of the paintings measures approximately 140cm x 180cm. The books I see as something intimate and acting like a type of common devotional book. Most of the work shows a landscape from my home town, Southport, on the north-west coast of England. The landscape gives a straight line that divides two realms, one inverted on the other. This vision of heaven and earth has struck me quite deeply. The sky being hope and dreams, earth being a human figure and its condition. The land is a sandy waste with the sea beyond view. It is a land full of suggestiveness; a solitary desolate sanctuary, a desperate wilderness, the cry of the earth and voice of heaven. It is a symbol of time and eternity, it is the raw material of our make-up, there is conflict and peace. At times it holds a profound quality of silence and its many faces. Into this desert like environment I have placed a number of phenomena.

statement I believe an art work can be something that prepares people for action. This can be seen quite clearly through the use of religious art and today through commercial media. If this thought is taken to hold validity, a question of responsibility comes into play. What action do I think an art work can prepare us for? It appears to me that works of art can be objects that perhaps allow an individual to recognize their potential. In some ways art is not about exterior, but essentially about small revelations that illuminate within. I think an art work can reveal actions of love and when it does this the art work inspires something of real beauty. When art engages this action it creates the type of beauty I am interested in and for me something of truly human relevance. To my mind an art work can possess the ability to lift the human spirit and encourage the greatness within the individual. In some ways I link this to dreams, the hopes which are planted in the depth our heart: not always easily heard, but when acted upon yield love. Art is not just about shocking, or critique, nor simply about the new, but about creating a profound reaction, sparking an (intrinsic) communication with the viewer. Art is dynamic language imbued with the ability to enable people. Art can contribute to creating conditions that influences our perception and development both in the individual and society. Art serves the purposes of life; it is a means by which we transfer ourselves, express our deeply-felt values and truths, our dreams and the world we find around us.

Galleriets åpningstider: mandag - fredag 11 - 16, lørdag og søndag 12 - 15, mandag stengt.
Besøksadresse: Det Lindvedske Hus, Nedre Tyholmsvei 7 b

sidene er sist oppdatert 28.11.04

| utstillingsprogram | lokalet | samlingene | kunstskapet | cafe | lenker | kunstnere | bli medlem | arkiv | om arkunst