Featured star of the week illustrates the beauty of life and human connection through her expressive artwork.
Vigdis Elisabeth Feldt
“It is all about seeing and realizing.”- Vigdis Elisabeth Feldt
WAS THERE A PIVOTAL MOMENT WHEN YOU DECIDED TO FOLLOW YOUR PATH AS AN ARTIST?
“I have always enjoyed drawing, but after a trip to Asia by boat, I met Mrs. Hanalore Lengauer, who invited me to enter the academy of Arne Hoffmann. Architect Ronald Lengauer, painter and museum intendant, and Kjell Phar Iversen, famous Neo-Impressionist.
The Liberate Art Academy was the title. I had an atelier place there for seven years. I was getting corrections from professional teachers every half year. I also attended a few courses.
Another motivator to start painting was some university art studies at Bergen University, Stavanger, that led me to realize the political, educational, and esthetical impact pictures have had on the shaping of human cultures from the stone ages till now.
It has always interested me to understand what is happening in human interactions. Also, I often have been overwhelmed by the beauty of life. The created. I want to share this experience with others.”
CAN YOU DESCRIBE YOUR WORK FOR US?
“I paint in an expressive, impressionistic, and naturalistic manner, stressing the effect of color and light. I find stories to tell from my mind and imagination. Mainly from the landscapes I have seen and enjoyed. Some of my pictures are metaphors and can be referred to as surrealistic.”
WHAT DOES YOUR WORK AIM TO SAY?
“I aim to express the beauty of the creation. That takes awareness and self-confidence. I wish for others to value themselves and become aware of the greatness of life.
Concluding, my works aim to show what is going on among humans in human interactions on different levels.”
HOW DO YOU THINK YOUR WORK FITS WITHIN SOCIETY IN OUR PRESENT TIMES?
“Trying to show the beauty of life probably fits within the concept and need of saving the globe and the creation.
Some of my pictures aim to show the psychological aspects of being an individual human. Perhaps some people can recognize and understand themselves better by looking at my work.
Individuality is a highly appreciated quality of life these days: me and others.
I express my ideas and hope to be recognized and perhaps confirmed by others.
You are seeing yourself and others. Feel responsible for people who are not as well off as people in the western world.”
WHEN LOOKING BACK, WHAT ARTWORKS COME TO MINDA THAT MOST RELATE TO YOUR LIFE STORY?
“I have always been a great admirer of the works of my two uncles, Leif Feldt and Ole Johan Idsal. Their style was naturalistic and realistic.
Later the expressive works of the German painter; Bruno Krauskopf (1882-1960) he is persecuted by the Nazis and was searching for refuge in southwest Norway, mostly on Ogna, near Stavanger.
Then from Jølster, Sognefjorden, Nicolai Astrup (1880-1928), an expressionist and impressionist. Nicolai Astrup inspires me with his most beautiful interpretations of interiors and exteriors in farmhouses in Jølster. His paintings of nature are Magnifique.Nicolai Astrup is contemporary to Munch, and their styles can be compared, but Nicolai Astrup’s pictures are more happy descriptions of human interactions.
The Russian painter Vassily Kadinsky (1866-1944) came to my knowledge many years ago. First, his supreme gorgeous interpretations, and impressionistic period, when working in France before the Communistic Revolution in 1917.
I also must mention the Norwegian painter, Pushwagner (1940-2018). His real name is Terje Brofos. A brilliant drawer and painter with an enormous capacity to describe the lives of modern human beings. In many ways a visionary drawer and painter. Merchandise cathedrals are stuck with accountants working with digital gadgets, for instance.
Another painter on my list of great artists is the Austrian colorist and nativist Hundertwasser (1928-2000). He made trees as metaphors for human life. The core and the layers around the core depict home, family, friends, colleagues, and everyday interchanging groups. His pictures have a bird’s perspective from a central perspective. The foregrounds are often colored by big drops of rain, either in gold or silver. The colors are always intense, cerise red, cobalt blue, Vitruvius green, and beaming yellow. Hundertwasser was also engaged in sustainable architecture, closely connected to the preservation of nature.
As a young man, Hundertwasser was made aware of the atomic attack on Hiroshima and Nagasaki. His beautifully designed drops of water are a protest, a warning of the effect of the nuclear downfalls. Acid rain and pollution probably also were one of his warnings and his agenda towards his admirers. Clean water and water supplies might also have come to his mind. He died in 1960.
Finally, I have to mention Lars Hertervik (1830-1902). He was a naturalist, making the most beautiful seascapes and landscapes from Borgøy, a bit north of Stavanger, and Stavanger, where he lived for most of his life. Close to my childhood playground.’’
WHO ARE YOUR BIGGEST INFLUENCES?
“My biggest influences are the artist I mentioned already mentioned artists. I am fond of many of their pictures. In addition, a still-Leben by my uncle, Leif Feldt, inspired and challenged me from early primary school age.’’
“Father’s Pride.” 2022. Oil on Canvas, 40×40 in by Vigdis Elisabeth Feldt
CAN YOU TELL US ABOUT YOUR CREATIVE PROCESS?
“In the morning, I sit down and sketch what comes to my mind. These ideas might later come forth in a painting.
When I decide to do a painting, I usually pick a canvas of sizes between 80 and 100 cm. Then I divide the canvas surface according to the Golden ratio principle. I also mark the center of the canvas. I choose the foreground, the middle ground, and the background levels. Important icons are not set in the middle, but most in a triangular indicating process.
I proceed with a non-sticky crayon or pencil. I often use colors, already, that I want to dominate the picture. Preferably two. Then I set up human, and animal figures, town or countryside landscapes, and interiors.
The painting process starts. I work the topic up with two oil colors. Then I proceed with one color after the other. After three hours of work, I finish the day and return to the unfinished work the next day, changing or improving some icons. These processes are continued until I think my piece is finished. Then, I sign it and leave it.”
WHAT VISUAL REFERENCES DO YOU DRAW UPON IN YOUR WORK?
“I work on light, shape, and color references. Water transparency. Light playing with the surfaces of materials. Sunbeams penetrate leaves, flowers, and light, touching the skin: light and shadows.”
ANY UPCOMING PROJECTS?
- Effetto Arte Magazine, Francesco and Saverio Russo.
- Signalati – London Exhibition, December 2022, Group exhibition.
- Embracing Paris – Karel Stoop, Gallery Zero Paris, January 2023, Group exhibition.
- Tokyo Tower Art Fair, Tokyo, March 2023, Group Exhibition
“I am grateful and flattered also being invited to other art-exposing places, but unfortunately, these days, I do not have the time to engage in more projects. Also, magazines offer me exposure space. Happy about this.
All the best Vigdis Elisabeth Feldt.”