Inga Sund Hofset

Svare
2020
Indian ink and rabbit skin glue on cotton canvas, oak frame
110 x 84 cm



INGA SUND HOFSET




ingahofs@gmail.com

Adorn, not for Being observed 


Inga Sund Hofset
Elephant Kunsthall 20/06 - 30/09/2020

Adorn, not for Being observed 


Inga Sund Hofset
Elephant Kunsthall 20/06 - 30/09/2020

Selv om det flyter
2020
kinatusj, hudlim og olje på bomullsduk
110 x 200 cm



Å skue men i
2020
kinatusj, hudlim og olje på bomullsduk
110 x 180 cm


Squint Open
2020
kinatusj, hudlim og olje på bomullsduk
110 x 140 cm



I See and Then You
2019
kinatusj og hudlim på bomullsduk
110 x 180 cm


Der
2019
kinatusj, olje og hudlim på bomullsduk
110 x 180 cm


Pusk
2020
kinatusj, hudlim og olje på bomullsduk, eikeramme
110 x 94 cm



Why if not, I tell
2020
kinatusj, kull, hudlim og olje på bomullsduk, eikeramme
110 x 90 cm



Adorn, not for Being observed 


We decided that my body would do the early scan.
I brought my elder sister, she explained the logics of the fans, she got it wrong but it turned out correct.

The slices doesn´t hurt, but they are sharp and enter both ways. They carry the signals, and I have no control over which signals that are chosen… like I have no control over what images want.

I try to gain control; I wanna know what comes. I consult professionals to read my inner.
They don´t know, either.
Actually – remember that; they just guess. All they can do is measure, squint or simply just put on their certified gear.

We communicate, you and me:
- Hm…we could also just keep the picture, posted, on the fridge?
- I miss all of you, outsiders! Hope you are hungry, too.



–––––––


Ingen kjenner meg sånn egentlig. Jeg sørger for det, i det daglige; jeg vil ha det slik; samtidig ønsker jeg så gjerne at det skal forandres. Noen ganger utfører jeg en stor, personlig gest, slik som da jeg inviterte med til den tidlige ultralyden. I ettertid er minnet noe jeg kan hente fram som et bevis, der og da åpnet jeg meg, og i ukene før var jeg uberedt på en annen måte enn etter. Det inngår i samlingen nå, sammen med de andre linjene, skyggene og valørene. Glanset ser det ut som noe annet, kanskje, eller det er da det vakre finner sted. Det oppstår i hvert fall nesten alltid noe uventet etter jeg har satt siste strek for dagen (gjerne når det har blitt mørkt ute). Noe av det mest interessante er vel forresten når jeg kan kjenne igjen en mulig venn bare på fasong eller gange.




Inga Sund Hofset
Elephant Kunsthall 20/06 - 30/09/2020

⎯⎯⎯

Ballong

2018

Akvarell, gouache, hudlim og olje på lerret

27 x 35 cm


For Vinduet nr 2 2018 / Av å være ansikter - Inga Sund Hofset


Forholdet mellom larve og voksen

2018

Akvarell, gouache, hudlim og olje på lerret

27 x 35 cm


For Vinduet nr 2 2018 / Av å være ansikter - Inga Sund Hofset

Bangladesh

2018

Akvarell og gouache på papir

29,7 x 38 cm


For Vinduet nr 2 2018 / Av å være ansikter - Inga Sund Hofset

Tyll / Martyr

2018

Akvarell og gouache på papir

29,7 x 38 cm


For Vinduet nr 2 2018 / Av å være ansikter - Inga Sund Hofset

De ville hundene

29,7 x 38 cm

Akvarell og gouache på papir

2018


For Vinduet nr 2 2018 / Av å være ansikter - Inga Sund Hofset

"Av å være ansikter" (On Being Faces) 

Akershus Kunstsenter, 2017


"Av å være ansikter" (On Being Faces) 

Akershus Kunstsenter, 2017


"Av å være ansikter" (On Being Faces) 

Akershus Kunstsenter, 2017


Av å være ansikter *^  

2017

Wood stain, water color, rabbit skin glue and oil on canvas

210 x 160 cm

Av å {være ansikter}  

2017

Water color, charcoal, rabbit skin glue and oil on canvas

210 x 160 cm

Av å være⎝ ) ansikter

2017

Water color, charcoal, rabbit skin glue and oil on canvas

210 x 160 cm




Av å være // ansikter

2017

Gouache, rabbit skin glue and gesso on canvas

210 x 140 cm




: Av å være ansikter

2017

Wood stain, water color, rabbit skin glue and oil on canvas

210 x 160 cm




"Av å være ansikter"  (On Being Faces) 

Inga Sund Hofset at Akershus Kunstsenter, 2017



⎯⎯⎯

G is the Letter for Being Polite

2017

Oil, charcoal and carving on plywood

70 x 52 cm




⎯⎯⎯

"Kleingeld"

Group show at Rolando Anselmi, Berlin organized by Santiago Taccetti

2017


Installation view (photo: Rolando Anselmi gallerie) 

-scapes

2017

Installation (oil and carving on plywood, water color and tape on paper,  wire, found  material )


From "Kleingeld" at Rolando Anselmi, Berlin, organized by Santiago Taccetti (photo: Rolando Anselmi gallerie) 

MOT (from -scapes )

2017

Oil, carving and pencil on plywood





⎯⎯⎯

“Shifts”

Inga Sund Hofset at Kvit, Copenhagen, February 2017

“Shifts”

Inga Sund Hofset at Kvit, Copenhagen, February 2017


Installation views

Shifts 1 - 9

2017

Water color, rabbit skin glue, oil on cotton canvas, wooden stretchers

100 x 80 cm, series of nine paintings

Reading Shifts

Kvit, København, 2017.

Sentences appear.
You try to memorize them by speaking into the dark.
At night that means whispering,
during the day it means singing—
but only you can hear the song.
The melody resembles tunes from your childhood,
then from your youth,
then you try to imagine what you will listen to when you get old— and you sing that song.

A deep breath next to you reveals that you’re not alone. Such a comfort,
or,
such a threat.

Animals are your friends, even when they are big, strong, and hungry.
They make you smile.
They comfort you, even just before they eat you, even when you’re swimming inside of a big belly, you know that everything’s gonna be all right:
you are safe in here.

The understandable wish to fixate can be dangerous out on the open sea.
You’re like a magnet towards the light.
You fall into a trance.
You think everything is closer than it really is, and this might sound safe, but it is not.

A week later, the rhythm still dictates your breath. Because of this, your inner organs follow.
Your digestion.
Your headache.

Your ability to sleep.
The muscles you didn’t know you had; usually too tiny to be noticed. Leg.
Throat.
Shoulders.
You pity everything, even your arm—which has started to ache.

You feel thirsty.

⎯⎯⎯

"Painters".

1857 at Paris Internationale, curated by Ane Hjort Guttu.

2016


Installation view

Zomb & Voice Den

2016

Oil and carving on plywood

sizes


"Painters", 1857 at Paris Internationale

Voice Den

2016

Oil and carving on plywood

70 x 52 cm


"Painters", 1857 at Paris Internationale

Untitled I & IV (Contour Cut)

2015 - 2016

Oil and carving on plywood

Each 62 x 48 cm



⎯⎯⎯

MFA Graduation show, Oslo Academy of Fine Arts

Kunstnernes Hus, Oslo, May 2016


Installation View

The Eyes

2016

Water color, rabbit skin glue, charcoal and oil on cotton canvas, wooden stretchers

210 x 160

Manifestation Changed

2016

Water color, rabbit skin glue, charcoal and oil on cotton canvas, wooden stretchers

210 x 160

The Pit is a Line

2016

Water color, rabbit skin glue, charcoal and oil on linen canvas, wooden stretchers

210 x 160

No Tear (up to cover me, down in front of you)

2016

Water color, rabbit skin glue, charcoal and oil on cotton canvas

126 x 86 cm

We turn cold when we are burning in a way we do not understand

2016

wooden stain, carving, charcoal and oil on plywood

126 x 86 cm


Abstraction is talking about what matters

2016

Text print on paper

17 x 26 cm

Handed out at the MFA Graduation show, Oslo Academy of Fine Art, Kunstnernes Hus, Oslo, May 2016

⎯⎯⎯

Untitled

2015

oil on plywood

13 x 10 cm



Untitled (the operation was conducted with a cannula)

2015

Oil and dirt on plywood

122 x 244 cm


From "Contour Cut" Inga Sund Hofset at Seilduken, KHIO, 2015.


Untitled (climbing)

2015

Oil and carving on found materiale



Hohenburg Salzburg, September 2015


Untitled (greenery)

2015

Oil on mdf, wooden beam, metal fittings

72 x 43 cm


Hohenburg Salzburg, September 2015


Untitled

2015

Oil on cotton stiched to mdf

43 x 29 cm



Untitled

2015

Oil, carving and tape on plywood