My work is originated by the old and classical traditions of painting. Inspired by the old European and Norwegian Masters. I work as a colorist where the colors are the musical notes, the ornamentation, the silent speaker and the love for traditions, are the three bearing components of my artistic expression.



The ornament is the reflection of the objects being. Throwing all unessential away, revealing the essence. You could call it simplifying the reality. When all the redundancy is removed and only the essence is left, that’s when the ornament arises. A true ornament is not a decoration, but it expresses the untouched soul of the object. A true ornament, even though it’s not an exact depiction, they contain a truth that exceeds reality itself.

– Yanagi Soetsu, Japansk filosof –


EEvery object is built from the ground as a painting. First, a fundamental treatment of the wooden shape. Second, a base of chalk marl or oil. All the paint is self-made after old recipes and I use the old classic paint techniques. These techniques includes that several thin layers with transparent colors build up the surface. The first layers of colors are often light colors while the last layers are darker transparent colors. The result of this is very special effects of life and a deep glow. Each object will get its own composition that I build up especially for it.

The compositions that I use are my own, but yet they are built up from the old principles of the old trade. The important parts being the rhythm, the line symmetry, the art of creating a totality from a distance, at the same time keeping it rich in details while looking at it close up.

It is important that there is a collateral between form and décor. Taking advantage of the wood’s natural beautiful pattern in my compositions is something that I value highly and use as much as I can.

I work as a colorist as far as my color expression.

In the idea behind my work, there are several factors that come together. Let us take a look at these:

– The wood. The often sculpture like objects demands large trees. In other words, old trees. Wooden trees with a long history, surviving many generations, having met many judges of character, and many historical events through their lives. I want to keep visible any wounds in the wood. So therefore I use very little Sparkell. These wounds help in telling the story of the piece of art. Since I use the old classical techniques of painting using transparent colors, then the wood pattern will shine through the layers of paint. My goal being to bring forward the coercion between both the nature and my own terms. In order to get this I will build my compositions after the pattern in the wood structure, -the beautiful line spelet in the wood itself.

– As a colorist my goal is to express myself together with /or through the ornamentation, the rhythm, the nature of the lines Linjespelet and natures exterior against humans interior.

– My goal is to capture the vulnerable moods in everyday life. The silent moments, which we are surrounded by everyday in the midst of the hustle and bustle.

 Anne Hesvik 
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