Drawing Room/Tannery Arts are delighted to present the work of graduates selected from the Oslo National Academy of the Arts and the Royal Danish Academy of Fine Arts, Copenhagen.

Jørund Aase will create ‘Untitled (WP No. 3)’,a performative wall work which is informed by diametrically opposed modernist traditions of Suprematism and Abstract Expressionism. The juxtaposition of the rectangular void and its painterly surround demonstrates the dependency of one upon the other. Marie Kølbæk Iversen’s projection work ‘RETROACTION’ also plays on the notion of the empty space which in this case is activated by the viewer rather than the artist. The nothingness of the medium and the physicality of the body collide and create a friction that triggers kaleidoscopic motion at the epicentre of the projector. The viewer is also invited to activate Tora Dalseng’s ‘newspaper’ work which is created from a collage of the spaces between the newspapers text and image. Reversing the newspapers usual intention of informing the public, this sculptural assembly of pieces of paper and different, gestural marks is instead moving towards the formless. 

Ragnhild Ohma’s figurative paintings focus on the psychological distance that is a distinctive feature of family gatherings. The imagery is sourced from family albums and the sense of dislocation is enhanced by areas of collaged fabric. Anders Valde has produced silk-screen prints of the famous chess player Bobby Fisher, adrift on the ocean with only a blanket to protect him from the elements, and of the Eames Lobby Chair, analytically-dissected. These works continue his investigation into how people and objects achieve iconic status.

Jingxin Geng’s photographic work involved the artist eliciting the co-operation of all the residents of an apartment building in Oslo in a work that highlights the conflict between the individual and the public. Lene Barnkob Kaas has created a community of vertical sculptures on a near human scale. A variety of materials, including ceramic, concrete, cloth and glass, are carefully chosen to create tableau which resonate with familiarity yet ultimately deny human access. Morten Ernlund Jørgensen’s collection of two-dimensional pieces investigate the language of abstraction. Individually modest in scale and content, the colours, compositions and ground combine to produce a resonant arrangement which grants the material substantial status.