Vinduskutt , at Galleri Opdahl, NO

Olve-Sande_DSC_9358

2016
Installation View
Galleri Opdahl, Stavanger, NO

Olve Sande_DSC_9365

Olve Sande_DSC_9366


Vinduskutt (Majvest III)

IMG_1163-220x170-2

2016
220 x 170 cm
Acrylic marker on wind barrier


Vinduskutt (Vempro V)

IMG_1150-170x130cm

2016
170 x 130 cm
Marker on wind barrier


Vinduskutt (Majvest I)

IMG_1148-170x130cm

2016
170 x 130 cm
Acrylic marker on wind barrier


VINDUSKUTT (Vempro II & III)

2016-02-Galleri-Opdahl_Olve-Sande_Vinduskutt-10

2016
170 x 125 cm
Marker on wind barrier


Vinduskutt (Vempro I)

Olve Sande_DSC_9350

2016
180 x 240 cm
Marker on wind barrier


Window Cuts II

Window_Cuts-220x170cm-1

2015
220 x 170 cm
Acrylic marker on wind barrier


Window Cuts I

Window_Cuts-220x170cm-2

2015
220 x 170 cm
Acrylic marker on wind barrier


Measures

IMG_0763

2015
40 x 30 cm
Framed inkjet photo


Measures II

IMG_0757-UTSNITT

2015
12.7 x 7,6 cm
ink on indexcard (framed)


Plasterboard Flats

Olve_Sande-Plasterboard_Flats---Panel_5_and_6---06

2015
7 panels, 250×90 cm each
Print on Fabric, Aluminum Stretchers
Installation View,
Astrup Fearnley Museum, Oslo, NO

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Apertures

APERTURES-MAGALIE

Apertures
2015
Installation View
Sogn & Fjordane Kunstmuseum, Førde, NO

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Project for Villa Air Bel (Couloir, Parloir, Hall, Salle à manger, Petit déjeuner)

Project-for-Villa-Air-Bel

2014
Variable dimensions
Pallets, plasterboards
Installation view Friche la Belle de mai, Marseille


Blue Acoustic

olve-sande-blue-acoustic

2014
130 x 175 cm
laminate floor, mdf


Correspondence (280 x 115 cm)

olve-sande-correspondance-07

Installation view, Bikini, Lyon
2014
280 x 115 cm
Paint absorbent felt on stretcher


Windows I

1

2014
52,4 x 38,2 cm
framed inkjet photo on aluminum


Windows II

3

2014
52,4 x 38,2 cm
framed inkjet photo on aluminum


Suites, at Galerie Antoine Levi, Paris

OLVE-SANDE-SUITES-01

OLVE-SANDE-SUITES-02

OLVE-SANDE-SUITES-03

OLVE-SANDE-SUITES-04

OLVE-SANDE-SUITES-13

OLVE-SANDE-SUITES-05

Installation views,
Galerie Antoine Levi
Photo: Claire Dorn

Suites, per definition, are to be considered as consequetive units or pieces following a specific order and harmony. Like multiple rooms opening up, following each other continuously, or windows allowing a view to emerge through a fixed space, suites both suggest and direct progression. Olve Sande’s works, then, follow this compositional logic, appearing as unified objects or extracts of a larger composition, which rather than functioning as fixed referents, invite the viewer to follow through. On a very practical basis, this manifests directly in the formatting of the works, as each piece is based on measurements from speci fic windows. The measurements were sourced from the architectural surroundings of Jørn Sværen, a Norwegian poet Sande has collaborated with for the exhibition. Through this, a bedroom, storefront, or café window may become displaced into the gallery and integrated into the sense of exchange and experience underlying the exhibition.

These standardised measurements function as a structural premise that contextualises the works in the exhibition and ties them to another. This is not only evident, however, in their formatting, but further in the materials employed by Sande for their realisation. The unpainted plasterboards are put into a direct relationship with paint-absorbent felt, entering the two into a mutual relationship characterised by the potential of spills. This becomes a clearly felt tension between the repellant and the absorbent; a tension that is highly emblematic of the spatial parameters Sande delineates in his practice. Each space becomes a space of dialogue between the materials and structures that form its existence, and by extension, inform our experiences within their con fines.

At that, there is an implicit poetry that lingers around the works, evoked in the elusive nature of the titles. As a viewer, one is made to wonder where the rigid measurements and architectural material vocabulary comes into relation with the sentimentality and enigmatical nature of the notes. They seem to hover on the sidelines, informing the work, almost distracting from its stark flatness. The titles and dimensions of the works, provided by Sværen through a series of exchanges with Sande, could be described as marginal notes; they become exposed as the internal commentary of the poet, responding in quiet, significant gestures to the experience of the Suites.


Suites (For Daniel)

OLVE-SANDE-SUITES-06

2014
195 x 234 cm
plasterboard on aluminum

Photo: Claire Dorn


Suites (Untitled I)

OLVE-SANDE-SUITES-08

2014
197 x 161 cm
paint absorbent felt on stretcher

Photo: Claire Dorn