CV GRO FOLKAN –born 15.08.49

 
 
 
 

GRO FOLKAN – born 15.08.49

 

CURRICULUM VITAE

 

SOLO  EXHIBITIONS

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2018  Invited: Gallery Artifact, Manhattan, New York

2017    Moss Art Gallery, Moss, Norway

2017    Gallery Nord, Tromsoe, Norway

2014    Gallery Vanntårnet, Nesodden – by Oslo

2011    Gallery Brevik, Tromsoe

2010    Gallery Sult ,Stavanger

2010    Gallery Tonne ,Oslo

2008    Gallery Brevik,Tromsoe

2006    Gallery Brevik,Tromsoe

2001    Gallery Embla, Tromsoe

2001    Gallery Albin Upp, Oslo

2001    Tromsoe Museum

1993    Tromsoe Kunstforening,Tromsoe

1990    Hammerlunds Kunsthandel, Oslo

1987    Gallery Cassandra, Drøbak

1985    Tromsoe Kunstforening, Tromsoe

1984    Kunstnerforbundet, Oslo

1983    Tromsoe Kunstforening

1982    Gallery Tanum, Oslo

1979    Kunstnernes Hus, Oslo

1977    Kunstnernes Hus, Oslo

1977    Gallery 71, Tromsoe

1975    Bergen Kunstforening, Bergen

1973    Kunstnernes Hus, Oslo

1971    Kunstnerforbundet, (Artists´ Association) Oslo

1967    Club 7, Oslo

 

PUBLIC PURCHASES

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Norwegian National Gallery

Norwegian State Gallery

Norwegian Culture Council

Central Bank of Norway

Oslo Public Schools Art Collection

Oslo City Art Collection

University of  Tromsoe

North Norway Art Museum

Norwegian Contemporary Art Museum

County of Troms

University hospital of North-Norway

 

EDUCATION

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1967- 69    Norwegian Central Art School,

                   painting and graphics

1969 – 73   Art Academy of Norway, painting and graphics

 

JOINT EXHIBITION

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2019    Artebinaria, Artinside Gallery, Florence, Italy

https://www.grofolkan.no/wp-content/uploads/2019/10/ArtinsideGallery-instagram-grofolkan.mov

2016    Invited: Contemporary Paintings, Brick Lane, London

2014    Summer Expo, Gallery Vulkan, Oslo

2000    North Norwegian contemporary art,

            travelling exhibition

1996    Norwegian Pictures 96, Brandstrup, Oslo City Hall

1995    Norwegian Pictures 95, Brandstrup, Oslo City Hall

1990    Tromsø Kunstforening, Tromsoe

1980    Fredrikstad Kunstforening

1977    Gallery F 15, Moss

1976    Female artists, Kunstnernes Hus, Oslo

1975    ”Norwegian today”, Hässelby castle,

             Stocholm, Sweden

1974    ”Norwegian Grafics today” Travelling exhibition,

             Germany two years

1972    Liljevalks Konsthall, Stockholm, Sweden

1969    UKS Spring Exhibition, participated 4 times since

1968    Nordic Exhibition, Hässelby castle,

             Stockholm, Sweden

1968    The June Exhibition,

            Kunstnerforbundet (Artists Association), Oslo

1967    Debutants from Norwegian State Exhibition,

            Oslo Kunstforening

1967    Debut Statens Høstutstilling

            (Norwegian State Autumn Exhibition)

            (Participated eight times since)

 

AWARDS

1976  First prize, school decoration, Oslo city

 

SCENOGRAPHY

1975     Høvikodden ballet

PUBLIC ASSIGNMENTS

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1977    ”Conditions of life” Rehabilition of Rodeløkka, in Oslo,

             exhibition Kunstnernes Hus, Oslo

1975    ”Park 62” (artist group) Rehabilitation of

             Asker city center

1975    Scenography, Høvikodden ballet, Oslo

1975    ”Park 62” exhibition,

            ”Can Tøyen Public Baths become

            everyman´s garden of Eden?

            City of Oslo Information Center

           and the Munch museum

 

PUBLIC DECORATIONS

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1998    Saga Petroleum, supply ship, Oslo

1989    Kroken nursing home, Tromsoe

1988    Porsangermoen, army camp, Lakselv, North Norway

1985    Telecom Building, Finnsnes

1985    Sparebank Nord, Tromsoe

1983    Grindbakken school, Oslo

1978    Rommen school, Oslo

 

SCHOLARSHIPS

1996    County of Troms, project support

1995    Project support, Oslo

1986    Lorch Shive´s working scholarship

1982    County of Troms, working scholarship

1975    State of Norway, 3 year working scholarship

1973    City of Bærum working scholarship

1969    General Consul Røwde´s memorial scholarship

1968   ”The three percent” working scholarship

 

BOOKS

2019  Invited: ‘International Contemporary Masters XIII’.

          Sponsored artists, Santa Barbara, California, U.S.A

2019  Invited: ‘Spotlight Contemporary Art Magazine’

         issue’ -12

2019  Invited: CreativPaper issue 15

2019  Invited: CreativPaper issue 12, published in London

2018   Invited: ’36 ARTISTS TO FOLLOW’ – Collector’s Edition

         10 pages, published in London

www.masteroftoday.com

2018   Invited “33 ART PROFESSIONALS”, 20 pages,

           published in London, www.mastersoftoday.com

2017    Invited: “ARTIST-collector’s edition”,

            20 pages in Art Professional, Contemporary Artists,

            London www.mastersoftoday.com

2017    Invited: World Wide Art Books,

            Current Masters (volume 11)

             in the series: International Contemporary Masters,

             Current Masters (volume 2 and 11).

             World Wide Art Books, Santa Barbara,

             California, USA

 

PRESENTATIONS

2019 – 2020  online portifolio

http://arterynyc.com/2019/02/13/gro-folkan/  (New York)

2019 ad

http://arterynyc.com/  (New York)

2019  ARTEBINARIA

https://www.grofolkan.no/wp-content/uploads/2019/10/ArtinsideGallery-instagram-grofolkan.mov

www.artsy.net (New York)

POSITIONS OF TRUST

1986    Guest teacher, State Art and Craft School,

            Oslo, Norway

1976    National Autumn Exhibition, member of the jury,

           Oslo, Norway

1975    Culture Conucil Purchasing Committee,

           3 years, Norway

THE IMAGES BETWEEN

 

Our culture is to a marked degree defined in literary categories, words, numbers. Everything has a name. But that is not the reality. Reality is coherent, and also includes that which is between the categories, between the named objects. To explore that which is between – with my method- is my project.

Reality may be comprehended as a language addressing us. The elements of this language,”the words” are other than our everyday words, and include also what is between the words, between the categories, our categories. What is a tree ? The stem, of course, the branches, twigs and leaves, the roots- but what about the life-supporting fungi and microbes between the finest roothairs? What about the oxygen close to the leaves? What about the bird´s nest? What about the bird´s song early in the morning when the sun rises and the rays stroke the top of the tree? What about the shadow below?

Many of us remember the famous Haiku poem about the flower falling from a branch of a tree, and suddenly rising again, going upwards. Is it a butterfly? Pulled into the moment between the flower and the butterfly, we suddenly get access to a part of reality we did not know before.  Look at a landscape, or a field with straws. Consider the wealth of significance and content between the named categories.

I think of my pictures as gates, entrances to the language between. I have experienced that when I manage to be in these gates, a new state of mind arises, a new contact – because I also am nature. And then it can happen that a wild bird sits down by me , or a raven comes down and says something.

My pictures are gates, instruments.The real pictures ,the images are not the pictures on my canvases, but the images coming into being in the mind of the onlooker.

I often use oxidized metals to add colour and substance and to facilitate the layer underneath to shine through. I use gold, white, red, green gold, silver, brass, copper, aluminium, paladium, platinum. I also use interference colours when suitable. The colours change from red to green etc. when the observer moves relative to the picture. Interference colours suit the metals very well. Some of these effects are difficult to display in digital media.

I have spent a lot of time travelling and learning , being in other settings, in New York, Southwest, The Four Corners, New Mexico, Colorado, Utah, Arizona, Berlin, Japan, China, and have sought out expressive , unspoiled Nature, particularly in North Norway.

To accomplish what I am trying to, I must create ”air” between the layers of my paintings, there must be space and breath between them.  I have worked many years to develop a technique allowing this, to try to create a weightlessnes as in the Haiku poem mentioned above, disturbing our set categories, opening the gates.