"LOOKING FORWARD AND AHEAD. PEOPLE HAVE AN INBORN URGE TO LOOK FORWARD TO NEW DAYS, NEW EVENTS, NEW OPPORTUNITIES.
MY HUMBLE AIM IS TO PORTRAY IMAGES THAT IN THE FIRST PLACE MUST COMFORT THE EYE. SECONDLY I DO HAVE A CONCERN TO PASS ON, IT'S ABOUT PASSION, SENSE AND EMOTION BUT ALSO A FEELING OF LOSS OF SPIRIT.
HUMANITIES HORIZONS ARE NOT JUST CLEAR BLUE ANYMORE. MY ONGOING PROJECT APPROACHES AN ASPECT OF THE TIDE, MOON-PHASES AND ALL THE CHANGES AND CONFRONTING CHALLENGES.
I LOVE TO WORK IN SERIES WITH THE SAME ISSUES AND EXPLORE IN-DEPTH, BUT WITH A TOTALLY DIFFERENT OUTCOME IN STYLE. IN THIS EXHIBITION I WANT TO COMMUNICATE THREE QUITE DIFFERENT SERIES WITH A COMMON FUTURISTIC VIEW. THIS IS MY VIEW AND OTHERS MIGHT SEE SOMETHING TOTALLY DIFFERENT WHICH IS THE FASCINATING AND VERY INTERESTING THING ABOUT ART!
ALL PHOTOS, PRINTS AND A COMBINATION OF THIS ARE ABOUT WATER, WATER-LEVELS RISING, WARMER AND WETTER DAYS AHEAD. BUT ALSO ABOUT BEAUTIFULLY, VISUALIZING COLORS AND FORMS, ABSTRACT OR FIGURATIVE, MANIFESTING HAPPINESS AND CONCERNS, ALL AT THE SAME TIME.
THE TIDE – OBITUARY - THESE IDEAS ARE ABOUT THE HUMAN BODY, THE HEAD, OUR FANTASTIC, THINKING BRAIN AND ALL ITS OPPORTUNITIES. THE EYE AS A NEGLIGENT OBSERVER. THE QUIET MOUTH AND OPEN EARS.
WATER, INSECTS AND OTHER SPECIES, ALL INFLUENCED BY THE SAME LEVEL OF OUR LACKING ENGAGEMENT AND INVOLVEMENT. OBITUARY IS RAZOR-SHARP PHOTOS IN A STRONG CONTRAST TO A LOT OF MY OTHER WORK, CRISP AND CLEAN TO TELL YOU A STORY.
A STATEMENT OF LIFE AND A LITTLE PROJECT ABOUT BEAUTY, DECAY AND DEATH. I SEEK AND EXPLORE HOW TO EXPRESS AND SHOWCASE MY CONCERNS AND EVEN IN THIS STAGE OF DEATH LIFE APPEARS BEAUTIFUL.
THE TIDE – SEDIMENTATIONS IS ABOUT MY CONCERN FOR THE OSLO FJORD, NORWAY. THIS FJORD, ONLY A VERY SHORT DRIVE FROM MY HOME, IS NEARLY WITHOUT LIFE CAUSED BY HUMAN ACTIVITY. WATER WITHOUT COLOR AND LIFE-GIVING SPECIES MAKES A WHOLE NEW EXPERIENCE WHILE WALKING ALONG THE WATER. I FEEL AND SENSE THE DIFFERENCES. AND THIS HAPPENED IN MY TIME, IN ONLY A FEW DECADES…
THE TIDE – WAVES - THIS TIME THOUGH I WANTED TO EXPLORE THE AWARENESS OF POSITIVE ENERGY, ENERGY IN NATURE, IN HUMANS.
LIVING FAR UP IN THE NORTHERN PART OF EUROPE WE ARE WELL KNOWN TO THE PHENOMENA “POLAR LIGHTS” IN WINTER TIME.
TO WITNESS THE LIGHT- AND SHADOW PLAYS, THE SILENT AND SACRED UNDERSTANDING OF THIS UNTOUCHABLE ENERGY, YET VERY VISUAL FREQUENCY OF LIGHTS, IS AN UNFORGETTABLE EXPERIENCE OF BEAUTY.
BEAUTIFUL SCENERY IN ALL KINDS OF COLORS WAVING IN THE ATMOSPHERE ON CLEAR, STARRY NIGHTS. POLAR LIGHTS ARE ELECTROMAGNETIC WAVES FULL OF ENERGY FROM CHARGED PARTICLES BEING THROWN OUT IN THE UNIVERSE FROM SUN-STORMS.
BUT ALSO X-RAYS AND GAMMA RAYS ARE ENERGY-WAVES OF ELECTROMAGNETIC FREQUENCIES.
WE USE THOSE WAVES FOR MEDICAL PURPOSES, TO MAKE OUR INNER BODY VISUAL, BUT ALSO TO EXPLORE PLANTS, FUNGUS AND OTHER WILDLIFE.
I'VE COMBINED IMAGES OF MOUNTAIN/FOREST AREAS WITH SPECTACULAR LIGHTS FROM X-RAYS.
THE PRINTS I MADE OF THESE HUMAN X-RAYS ARE PRINTED IN THE CYANOTYPE- AND ARGENTOTYPE-PROSESSES, USING EVEN ANOTHER TYPE OF WAVES: UV- LIGHT- FREQUENCIES."
- KATINKA KVALE
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ABOUT THE ARTIST
Katinka is a multidisciplinary artist working across photography, printmaking, and mixed media, with a practice rooted in curiosity and material exploration. Born in Amsterdam and now based in Norway, her artistic language has developed through a long engagement with craft, structure, and surface.
Her formal background is in weaving, design, and ceramics, disciplines she once combined to create tactile objects—both sculptural and functional—defined by texture and physical presence. After many years of teaching and working in her own studio, her focus has shifted toward lens-based and two-dimensional work. The sensibility of the hand remains central, carried forward through experimental printmaking, layered hand prints, and photography that emphasizes structure, rhythm, and botanical form.
Nature is a constant source of inspiration and appears in nearly every image. She is especially drawn to moments of decay and transformation in plants, animals, and insects, where fragility and resilience coexist. These transitional states offer a rich visual language of texture, pattern, and quiet tension between the living and the dead.
Her process is deliberately slow and analog. Digital manipulation is minimal, and AI is not used. Light functions as a primary material, with sunlight often employed for analog double exposures. This hands-on approach reinforces a physical, intuitive relationship with both subject and medium.
" My work consists of several layers of printed techniques, including mono/series print, photos, and textiles. I use mixed media collage, glue and scissors to create intricate compositions and patterns. I also use double exposures both digital and analogue to incorporate depth and interest in my pieces. I work with great care and craft each layer to ensure transparency and texture.
As a ceramist I control the 4 elements earth, water, air and fire to achieve a finished product. I use the same 4 elements in my prints and photographs in a metaphorical meaning. In many pictures I work with botanical elements as in a deeper meaning of decay and a process of decomposition. Nature gives and takes and renews to other and new dimensions.
I try in a subtle and imaginary way to show my environmental engagement and aim to challenge our collective awareness of these issues through photo medium. I wish to evolve lines from art to the heart. I use both analogue and digital double exposure techniques to visualize my project. I'm inspired by working “hands on” and crafting prints to fit the photographs, or the other way round. I find this a very appropriate approach to visualize my art.
My mono-prints are hand-printed on raw, organic cotton, using acrylics, inks, charcoal, pastels and fabric paint. I also use cyanotype, anthotype, and often prints of red- and black-listed species. My composed photos are finally manufactured professionally on raw cotton/canvas.
I stretch my raw canvas on the frame by hand to present and arrange a translucent fabric in front, as to achieve an appearance of analogue double, double exposure and create an even deeper visual narrative. Working myself back to more and more use of textiles, with a feature towards 3-dimensional work.
Together, the prints on canvas and the prints on the translucent fabric tell the story of my ongoing project. By mounting the translucent fabric in front of different canvases, new narratives appear. Like a dollhouse with different scenes and interior or a paper doll with different cloth-hangings. I use the symbolism of a world in chaos, with for instance fish in the sky and birds under water."
