The gallery is honored to present the exhibition ULTIMA, the first solo exhibition in France with the contemporary artist Gjertrud Hals. Born in 1948 on the Northwest coast of Norway, Gjertrud Hals is considered as an important pioneer in the field of Scandinavian fiber art. She has participated in redefining textile art by liberating it from the loom and displaying it in space as three-dimensional sculpture. Her international breakthrough came in the mid-1980s with LAVA, a series of big urns made of cotton and flax pulp that marked her transition from textile- to sculptural fiber art. In 1987 she received the First Prize of the Metro Arts International Art Competition in New York, followed in 1989 by the Grand Prix of the Kyoto International Textile Competition. Her works have been acquired by important private and public collections such as the National Museum of Contemporary Art in Oslo, The Museum of Contemporary Crafts in New York, the Museum of Decorative Arts in Lausanne and The Bellerive Museum in Zürich.

                  The title of the present exhibition – ULTIMA – is derived from Gjertrud Hals’ ample eponymous vessels, delicately knitted from cotton and linen threads hardened with resin. These one-meter tall, featherweight vessels are hardly touching the ground. There is a certain contradiction between their size and their lightness. They seem to be in levitation and appear almost like a vision. Their ambiguous presence is further enhanced by their incapacity to contain anything (but themselves) due to their soft, perforated structure. They are self-contained so to speak. Yet, in spite of their delicate transparency, they convey a feeling of quiet strength. The shell form of the ULTIMA pieces is central to Gjertrud Hals’ art. In the words of the curator Tove Lande…”For Gjertrud Hals, the shell is both an ideogram and an archetypal symbol. She prefers to use dense symbols that can encompass several meanings, and for her the shell is precisely that type of symbol. On the one hand it represents the protective membrane between life and death; on the other hand it is a symbol of the jar or vessel. In addition, the shape reminds her strongly of the shells that she used to play with as a child on the beaches of Finnøya.” (Tove Lande: Delicate Pillars. Weighty Threads.In: Gjertrud Hals. Soejlens Letthet. Traadens Tyngde. Kunstmuseet KUBE. 2008. pp 75)

                  The shell is indeed compared, by Gjertrud Hals, to an organic membrane – protecting, fragile, fatal and liberating at once as…”Premature fracture of many fragile protective shells or membranes means almost immediate death or destruction. On the other hand, a cleavage at the right moment can mean life liberating itself, or even an idea or thought which breaks forth and materializes itself in creativity”. With ULTIMA, the artist seems to approach, conceptually and technically, the fascinating ambiguity between fragility and force, art and death,

                  Some artists feel so rooted in their home region that it becomes an integrated part of their life and art, as organically inseparable from them as an arm, as vital as air. In the remarkable portrait movie Black Sun, Gjertrud Hals tells the hair-rising story of how the little island Finnøya on the North West coast of Norway lost half of its population in one single afternoon, when 13 people drowned during a sudden storm, while they tried to reach the church on a neighbour island. This tragic event happened more than 100 years ago, but it never lost its ambiguous power of terror and excitement to Hals, who was born on the island in 1948. “As a child I loved stories about shipwrecks and accidents at sea. People who stayed alive on reefs and islets…or who had raised lots of children for instance, and then lost them one by one. It sounds weird to say I loved it, but it was in a childlike manner. Joy mixed with terror. In those days we had no horror movies. We only had these stories.” (Black Sun, movie). Gjertrud Hals’ upbringing on the little island Finnøya is profoundly anchored in her art and heart, and her relationship to the region’s nature and culture is deep and complex. So is her inspiration from the Nordic mythology, in which she sees a parallel to everyday life and culture.

                  Trained in the art of tapestry weaving in the 1970s, Gjertrud Hals’ interest in feminism and women’s culture draws her towards the new Polish wave of women artists exploring the sculptural potential of textile, such as Claire Zeisler and Magdalena Abakanowicz. The word fiber art occurred in the United States in the 1960s, and the first fiber art exhibition (“Woven Forms”) took place in New York at the Museum of Contemporary Crafts in 1963. Before, this style was referred to as “off-loom”, and it is the process of binding elements together, which comes from weaving, that is the common denominator of fiber art.Connecting and binding together characterizes indeed Gjertrud Hals’ art, both literately and symbolically. Many of her works are grid structures made of cotton and linen crochets, covered with paper pulp. Often strange little objects, objets trouvés, are added such as animal skeletons and feathers alongside with plastic capsules or embroideries from India or made by her grandmother, such as in the work FENRIS. They look a bit like the kind of “treasures” children find. The poetic dimension is further enhanced by the introduction of fragmentized words or letters, delicately appearing through the grid structures before vanishing again. Like a spider’s web, these weavings seem to capture the traces of life as time goes by. Like small micro-cosmoses, inspired by mythological story-telling and childrens world, Gjertrud Hals’ works seem to possess their own laws and logics, moving somewhere between delicate neatness and unrestrained inspiration. In the words of the artist, they propose a reflection “…on the relationship between nature and culture, in which the life of modern man is moving between chaos and order. Forces of nature and war create chaos, after which a new order is elaborated, always a bit the same and always a little different than the previous.

                  Gjertrud Hals works tirelessly, always seeking out new experiences. She has constantly been exploring new techniques, as she weaves, knits, casts, sprays and cuts her way through various materials, mostly natural fibers such as flax, paper, cotton, roots and plants that she elaborates during physical and time-consuming sessions. Her focus on natural fibers comes from her frequent travels to Japan, where she admires the old, holy Shinto temples and learns to make paper. The Japanese actually have the same word for paper and for God, Kami, and it’s the discovery of Japan’s old nature-worthshipping religion, Shintoism, that puts nature is in the heart of Gjertrud Hals’ work, not only as a material, but as small pieces of natural life, that she draws into her works in a direct manner, using roots, liechen, branches, such as in the works PAIR and IRMIN: “With the number of things happening in the world today, it feels right to focus on a small segment by conserving a small part of it. It reminds me of my collections of shells and insects in my childhood. It has always given me great pleasure to create order out of chaos.(Gjertrud Hals in: Tove Lande, Delicate Pillars. Weighty Threads/Gjertrud Hals. Soejlens Letthet. Traadens Tyngde. Kunstmuseet KUBE. 2008. pp 77).

It is also Shintoism that opens her eyes for the Norse mythology. She is struck by the feeling of something very familiar. So many things in today’s culture are rooted in these stories, and she feels an immediate and almost overwhelming connection.

                  In the documentary movie Black Sun, the artist explains her spiritual approach to art and techniques:“During the last 25 years, I’ve had a fling with Zen Buddhism. It focuses on technique but not for show. It’s continued technical exercise. You should exercise so much that you forget the technique. And, in the end, yourself…Zen Buddhism is very down to earth. It’s about getting in touch with your inner child, that reminds me of things I know from way back in my culture…my background…Christianity…and the essence of the New Testament. Jesus says several places, in the Gospels of Matthew and Mark, that if you don’t become a child again, then you’re not allowed in heaven. In that way, there is something in common…this simple down to earth mysticism. You can’t get there by keeping a safe distance. You must get into to it, to take part in it.” (Black Sun, movie)

                  It’s all about finding your inner child… getting into it, forgetting to keep a safe distance, being ALL IN, like a child, shipwrecks, spider’s web, snakes, animal skeletons, and all. Chaos and order. Joy mixed with terror. Combining big and small, high and low, Gjertrud Hals mixes auto-biographical and feminist themes with legendary story telling, folk art and fine art, profane and sacred…a simple down to earth mysticism as she names it, that calls for the child.

  • 2015, 85 (h) x 95 (d) cm
Linen and cotton threads, pigment, epoxy
Unique piece

    ULTIMA / Red Gold
    2015, 85 (h) x 95 (d) cm
    Linen and cotton threads, pigment, epoxy
    Unique piece

  • View of the installation at the BAERUM ART HALL, 2015

    ULTIMA / Red Gold
    View of the installation at the BAERUM ART HALL, 2015

  • Gjertrud Hals

    Born in 1948 on the northwest coast of Norway, Gjertrud Hals is considered as an important pioneer in the field of fibre art. She has been one of the redefining figures by liberating textile art from the loom and displaying it in space as three-dimensional sculpture. Her international breakthrough came in the mid-1980’s with LAVA, a series of large urns made of cotton and flax pulp that marked her transition from textile to sculptural fibre art.

    In 1987, she was granted First Prize in the Metro Arts International Art Competition in New York, followed by the Grand Prix in the Kyoto International Textile Competition in 1989.

    Her works have been acquired by private and public collections, such as the National Museum of Contemporary Art in Oslo, the Museum of Contemporary Crafts in New York, the Museum of Decorative Arts in Lausanne and the Bellerive Museum in Zürich.

     

    EDUCATION :

    1971-72                    SLFN, degree in Art Education

    1975-77                    SLFO, degree in Art Education

    1986-87                    Art Academy, Trondheim

    SOLO EXHIBITIONS :

    2015        Galerie Maria Wettergren, Paris / Bærum Art Hall, Bærum

    2014        Himmerland Art Museum, Aars, Denmark / Kube Art Museum, Ålesund

    2012        Gallery RAM, Oslo

    2011        Rauland Art Association / Molde International Jazz Festival, Festival Artist

    2010        Ode to the roots, KMR, Molde

    2008        Kube Art Museum, Ålesund / Norwegian Forest Museum, Elverum

    2007        Vadsø Art Association, Vadsø

    2006        Gallery Heer, Oslo

    2005        Gallery Svalbard, Longyearbyen / Gallery HAV, Hustad

    2004        Gallery Heer, Oslo

    2003        Gallery III, Oslo

    2002        Trondheim Art Museum, Trondheim

    2000        Gallery Elvetun, Sykkylven / Nils Aas Art Studio, Inderøy

    1999        Gallery Barbara, Sunndalsøra / The Bjørnson Festival, Festival of International Literature, Molde

    1998        Aukra Art Association, Aukra

    1994        Gallery Åkern, Kongsberg

    1991        Levanger Art Association, Levanger

    1990        North Norwegian Art Center, Svolvær

    1989        Gallery Wang, Oslo

    1988        Molde International Jazz Festival, Festival Artist / Shæffergården, Copenhagen / Gallery F15, Moss

    1985        Møre og Romsdal Art Center, Molde

    GROUP EXHIBITION (SELECTED)

    2015        The Salon NY, New York, Galerie Maria Wettergren / PAD London, Galerie Maria Wettergren / Herfra. Kube Art Museum, Ålesund / Interwoven. Merzbau Gallery, Miami / Art in Nature. Landart in Vengedalen, Romsdal / Fattig kunst-rik arv. National Museum of Contemporary Art, Oslo / Art Genéve, Galerie MW

    2014        The Salon: Art+Design NY Galerie Maria Wettergren / PAD London Art+Design, Galerie Maria Wettergren

    2014        The Vevring Exhibition, Vevring / Design Miami/Basel Galerie Maria Wettergren / Stavanger Art Museum, Stavanger

    2012        Lost Garden, Høvikodden / Moving, Ålesund

    2011        Art in Nature, Landart in Vengedalen, Romsdal / Paper Art Exhibition, Seitenstetten, Austria

    2010        Goddesses II, the National Museum of Contemporary Art, Oslo / Knitting and Stitching Shows, London / The Holland Paper Art Biennial 2010, Apeldoorn and Rijswijk

    2009        Art in Nature, Landart in Vengedalen, Romsdal

    2005        Identity, Kube Art Museum, Ålesund

    2003        Modern Masters, Munich

    2002        Masterpieces –Capolavori, Turin / Norwegian Textile Artists 25 years, Notodden

    2001        S0FA-Sculpture Object and Functional Art, New York

    2000        International Art Festival – Art 21, Palm Spring

    1998        Cellulose, International Touring Exhibition in The Nordic Countries / 9th Triennial of Tapestry, Lódz / The Annual Exhibition for Trøndelag

    1997        Shelter, International Art Exhibition, Trondheim / International Triennial of Tapestry and Textile Art, Tournai / Norwegian Textile Artists 20 years, Oslo / Blue, Haugar Art Museum, Tønsberg

    1996        Flax and Linnen Biennial, Rouen and Paris / The Annual Exhibition for Northern Norway

    1995        Art -Material, Brandts Klædefabrik, Odense / International Touring Exhibition in Scandinavia and Spain

    1994        Paper Art, Gemeente Amstelveen Museum, Amsterdam / Norwegian Art, Gallery Brandstrup, Oslo / Heimdal Art Exhibition, Trondheim

    1992        Gallery “Kunst und Handwerk”, Munich / Ode de la coupe, Museum of Decorative Art, Lausanne / 3. Basketry Invitational, Michigan / Kryss-Crossing Borders, Regional Art Center, Hordaland

    1991        European Craft, Stuttgart / Crossing Borders, Gallery F15, Moss

    1991        Configura, Art in Europe, Erfurt

    1990        Nordform, art , craft, design and architecture, Malmö / Gallery Ram, Oslo / International Biennial of Paper Art, Düren

    1989        Splendid Forms, Bellas Artes Gallery, Santa Fe and New York / Nordic Textile Triennial / New Norwegian Textile Art, Museum of Decorative Art, Trondheim / ITF International Textile Competition`89, Kyoto / Perspective on Paper, Maihaugen, Lillehammer

    1988        Neo Tradition, Museum of Decorative Art, Trondheim / The Tactile Vessel, Touring Exhibition in USA / Textile Art 88, Maihaugen, Lillehammer / The National Annual Exhibition (Høstutstillingen) / Metro Art´s International Art Competition, New York

    1987        The National Annual Exhibition

    1986        The Annual Exhibition for Western Norway (Vestlandsutstillingen)

    1984        The National Annual Exhibition / The Annual Exhibition for Western Norway / The 3.Michoacan Int. Exhibition of Miniature Textiles, Mexico / 5th Int. Biennial of Miniature Textiles, Ungarn / The Annual Exhibition for Trøndelag

    1983        The National Annual Exhibition / The Annual Exhibition for Western Norway

    1982        The National Annual Exhibition / Nordic Textile Triennia

    1981        The Annual Exhibition for Western Norway

    1980        The National Annual Exhibition / The Annual Exhibition for Western Norway / The UKS Spring Exhibition / Art and Church, Trondheim

    1979        The Annual Exhibition for Western Norway / The UKS Spring Exhibition Oslo / The Annual Exhibition for Eastern Norway

    1975        Norwegian Contemporary Textile, Oslo Art Association, Oslo

    COMMISSIONS :

    2014        Kristiansund College

    2013        NGLMS, Otta

    2012        Teatret Vårt, Møre og Romsdal

    2009        Molde District Psychiatric Centre Knausen

    2006        Shell Administration Building, Aukra

    2004        Stabekk School, Bærum

    2002        Bjørnson Consert House, Molde / Rica Seilet Hotel, Molde

    1998        Aker Stadion, Molde / Julsundet School, Aukra

    1997        Statoil Administration Building, Tjeldbergodden

    1994        Molde University College, Molde / Frostating Court of Appeal, Molde

    1993        Brage Oil Platform

    1992        Draugen Oil Platform

    1987        Molde Church, Molde / Nord-Heggdal Chapel, Misund

    1986        Fræna School, Elnesvågen

    1986        Kleive Nursing Home, Molde

    1985        Kirkelandet Chapel, Kristiansund

    1984        Sunndal Nursing Home, Sunndal

    1983        Ulsteinvik Day Nursery Home, Ulsteinvik

    1981        Ørsta Nursing Home, Ørsta

    COLLECTIONS (SELECTED) :

    Kube Art Museum, Ålesund / Museum Bellerive, Zurich / Museum of Decorative Art, Lausanne / American Craft Museum, New York / Erie Art Museum, Pennsylvania / Leopold-Hoesch Museum, Düren / The National Museum of Contemporary Art, Oslo / The National Museum of Decorative Arts, Trondheim / Arts Council Norway / Bob Kelly Gallery, Gothenborg / Sør-Trøndelag County Art Collection / Nord-Trøndelag County Art Collection / Møre og Romsdal County Art Collection

    Finnmark County Art Collection / Bærum Municipal Art Collection / Oslo Municipal Art Collection / Aukra Municipal Art Collection / Daiichishiko Co. Ltd. Kyoto / Aker Stadion Art Collection, Molde / Fjord 1, MRF / KS, The Norwegian Association of Local and Regional Authorities / The County Hospital, Molde / Molde University College / Ergan Coastal Defences ( World War 2 Museum), Bud

    GRANTS AND AWARDS :

    2014        BKH Exhibition Grant

    2011        BKH Exhibition Grant

    2010        Arts Councils Exhibition Grant

    2007        Arts Councils Exhibition Grant

    2004        Arts Councils Exhibition Grant

    2002        Bærum Municipal Art Prize

    2000        Arts Councils Exhibition Grant

    1989        Grand Prix, International Textile Competition`89, Kyoto

    1987        1.Prize, Metro Arts Intern. Art Competition, New York

    1998        Ingrid Linbäk Langaard Foundation / The Inadomi Foundation

    1997        The National Guarantee Income for Artists

    1992        The National Work Grant for Artists (3 years)

    1991        Rune Brynestad Memorial Legacy

    1990        Vederlagsfondet Grant

    1989        Sasakawa Foundation / Vederlagsfondet Grant

    1988        Ingrid Linbäk Langaard Foundation

    1986        Norwegian Artists Legacy

    1984        National Grant

    1981        UKS( Young Artists Association) Grant

    PUBLICATIONS (SELECTED) :

    2015        contemporarybasketry.blogspot.com/ July 2015

    2014        Textile around the World (book) / Textiel Plus, nr 228

    2010        www.ofpaperandthings.com (6.11.2010) / www.paperphine.com(june 10, 2010)

    2010        Biography in Allgemeines Künstlerlexikon/World Biographical Dictionary.

    2007        Kunst for alle, nr 6( magazine).

    1997        Black Sun, Mona Bentzen, Norwegian Film Institute. (A film about the artist Gjertrud Hals).

    1997        Art textiles des pays nordiques, No tele( film/video)

    1996        Linnaissable lin, Fiber Art Synergy( film/video)

    1991        Europäisches Kunsthandwerk, LGA (book) / Configura 1, Art in Europe (book)

    1989        The tactile vessel, Erie Art Museum (book) / Kunst + handwerk, nr 4 ( magazine)

     

     

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