My passion for tempera painting connects me deeply to the rich artistic heritage of the Renaissance masters. Like the early Renaissance painters, I employ the traditional technique of mixing pigments with egg yolk and water, but I bring a contemporary twist to this ancient medium.

Drawing inspiration from artists like Sandro Botticelli and Michelangelo, I embrace the challenges and unique qualities of tempera painting. I appreciate the medium's quick-drying nature and its suitability for graceful lines and delicate colors, characteristics that defined the works of these early masters.

However, I push the boundaries of traditional tempera painting. While Renaissance artists often worked with a limited palette, I employ a large array of colors. My technique involves mixing colors uniquely for each brush stroke, ensuring that no two strokes are exactly the same. This approach creates an extraordinary luminosity in my paintings, reminiscent of Michelangelo's innovative use of 'cangiantismo' to overcome the tonal limitations of tempera.

My method echoes the painstaking layering technique of artists like Botticelli, building up thin layers to create depth and luminosity. Yet, I embrace the medium's quick-drying time as an opportunity for spontaneity and unique color interactions, rather than seeing it as a limitation.

I work exclusively in tempera, asserting its continued relevance in contemporary art. I see myself as part of a lineage stretching back to these old masters, continually exploring and expanding the possibilities of this ancient medium.

Through my work, I strive to demonstrate that tempera painting, far from being a relic of the past, remains a vibrant and expressive medium in the 21st century.

Engadin series

My paintings of the Engadin landscape, with their luminous quality and delicate color variations, showcase the enduring beauty and versatility of tempera, bridging the gap between Renaissance techniques and contemporary artistic vision. I paint to capture the unique, crystalline light of the Engadin, continuing a tradition celebrated by masters like Segantini and Berry. Through my use of tempera pigment painting, my paintings offer a fresh perspective on the region's beauty, blending traditional methods with contemporary vision. As a Norwegian artist deeply connected to the nature, I bring a unique outsider-turned-insider view to my depictions of the Engadin landscape.

I bring a distinct female perspective to the interpretation of Engadin's landscape, enriching a traditionally male-dominated artistic narrative. As both an artist and art historian, I infuse my work with a deep understanding of the Engadin's rich artistic heritage. My paintings demonstrate the enduring allure of the Engadin landscape, proving its continued relevance as a source of artistic inspiration in the 21st century. My work extends the rich tradition of artistic exchange in the Engadin, inviting viewers to participate in an ongoing conversation about landscape, light, and creativity.

Through my paintings and open studio, I aim to democratize access to art, inviting viewers to engage intimately with my creative process and the Engadin's beauty. Visit to my studio offers visitors a rare glimpse into my creative process as a working artist in the Engadin. Unlike static museum displays, my open studio policy allows for direct interaction, fostering a dynamic relationship between myself, my artwork, and viewers.

The Confrontations series

In my Confrontations series, I explore the complex interplay between the external world and our internal human experience. This series juxtaposes seemingly peaceful, aesthetically pleasing compositions against the turbulent, often conflicting inner world of human existence.

On the surface, my paintings present serene arrangements of natural elements and objects - tranquil landscapes, still lifes, or abstract forms. I use my unique tempera technique to capture subtle plays of light and color, creating an initial impression of harmony and beauty.

However, beneath this serene exterior lies a deeper, more complex narrative. Through subtle symbolism, unexpected color choices, and compositional tensions, I introduce elements that hint at the internal struggles we all face. These serve as metaphors for the weighty questions of human existence - questions about freedom, responsibility, choice, faith, and the nature of truth.

The 'confrontation' in this series is multi-layered. It's not just between the external beauty and internal turmoil, but also between the viewer and the artwork itself. I challenge the beholder to look beyond the apparent and delve into the genuine. The initial beauty is meant to draw the viewer in, but it's my hope that they don't stop there.

I want my audience to confront their own perceptions and assumptions. As they spend time with each painting, I hope they begin to notice subtle disturbances in the seemingly peaceful scenes - perhaps an oddly placed object, an unexpected reflection, or a color that seems slightly out of place. These elements are invitations to dig deeper, to consider what lies beneath the surface.

In essence, the Confrontations series is about the journey from appearance to reality, from the superficial to the profound. It's a visual representation of the philosophical idea that true understanding often requires us to challenge our initial perceptions and confront uncomfortable truths.

Through this series, I aim to create a space for reflection and introspection. While the compositions provide a beautiful backdrop, the real subject of these paintings is the human condition itself - our struggles, our questions, and our constant search for meaning and truth.

By using the ancient technique of tempera painting to explore these very contemporary themes, I hope to create a bridge between past and present, between the enduring beauty of form and the ever-evolving landscape of human consciousness. The Confrontations series is my invitation to the viewer to embark on this challenging but rewarding journey of self-discovery and deeper understanding.

The Masters Series

In my Masters Series, I delve deep into the rich tapestry of art history, drawing inspiration from the most iconic works that have shaped our cultural landscape. This series is a homage to the great masters whose genius has stood the test of time, their paintings becoming embedded in our collective consciousness.

I find myself drawn to those pieces that have become almost ubiquitous in their fame - works that have been shared, copied, and revisited countless times throughout history. These paintings, in their enduring popularity, speak to something universal in the human experience.

My process begins with an in-depth study of these masterpieces. I immerse myself in understanding not just the visual aspects, but also the techniques, the historical context, and the intended messages of the original artists. This exploration is both an academic pursuit and a spiritual journey, connecting me to the lineage of artists who have come before.

However, my goal isn't mere replication. Instead, I seek to reinterpret these timeless messages through a contemporary lens. By employing new mediums and techniques, I aim to breathe fresh life into familiar subjects. This approach allows me to engage in a dialogue with the past, creating a bridge between historical artworks and modern artistic expression.

I firmly believe that true originality doesn't emerge from a vacuum. Every artist, knowingly or unknowingly, builds upon the foundations laid by their predecessors. In The Masters Series, I make this connection explicit. By openly referencing and reimagining famous works, I invite viewers to consider the continuity of artistic expression across time.

This series is also a reflection on the nature of creativity itself. It challenges the notion of absolute originality, suggesting instead that innovation often comes from reexamining and recontextualizing what has come before. Through these works, I hope to spark a conversation about the cyclical nature of art, where past, present, and future are in constant dialogue.

Ultimately, The Masters Series is my way of paying tribute to the giants of art history while asserting my own artistic voice. It's an exploration of how we can honor tradition while pushing boundaries, and how the masterpieces of yesterday can continue to inspire and evolve in the hands of contemporary artists.

The Masters Series - Albrecht Dürer

Dürer's Rhinoceros and Dedichen's Rhinoceros

Albrecht Dürer's Rhinoceros has long captivated me as a masterpiece of early 16th-century European art. What struck me most was Dürer's ability to create such a detailed and powerful image within the constraints of a woodcut print, and in such a compact format. Despite its small size - merely 21.3 x 29.5 cm for the image and 23.8 x 29.9 cm for the sheet - Dürer's Rhinoceros, created in 1515, stands as one of the most iconic images in art history. This work exemplifies how Dürer revolutionized printmaking, elevating it from a mere reproductive technique to an independent art form.

In my reinterpretation of this masterpiece, I sought to honor Dürer's innovative spirit while bringing my own artistic vision to the subject. Knowing that Dürer apprenticed with his goldsmith father, was influenced by Venetian color and design, and used tempera in his paintings, I decided to reimagine the Rhinoceros as a tempera painting executed on gold leaf.

This choice of medium allowed me to explore the interplay between the luminous qualities of tempera pigments and the reflective surface of gold leaf. The process involved extensive experimentation to achieve the intense color luminance I desired. I also worked to develop a craquelure effect that mimics the texture of a rhinoceros's skin, adding depth and authenticity to the image.

However, I faced a challenge when it came to reproducing this work. Traditional printmaking techniques - intaglio, lithography, woodcut, screen printing - couldn't adequately capture the vibrant luminance of the pigments or the subtle interplay with the gold leaf. After much consideration, I turned to archival pigment printing, a modern technique that allowed me to faithfully reproduce the color and texture of the original painting.

In this way, my work bridges the gap between Dürer's innovative use of woodcut printing and contemporary digital reproduction techniques. It's a dialogue between past and present, traditional and modern.

Furthermore, I wanted to inject a contemporary sensibility into this historical subject. Inspired by Andy Warhol's pop art approach, I chose to reimagine the rhinoceros with bold, vibrant colors that contrast with Dürer's monochromatic original. This fusion of Renaissance precision with pop art vibrancy creates a unique visual language that speaks to both art history and modern aesthetics.

By combining Dürer's meticulous detail, the luminous qualities of tempera and gold leaf, and the bold color palette inspired by Warhol, I've created a work that pays homage to art history while firmly situating itself in the present. It's a celebration of the enduring power of iconic images and the endless possibilities for their reinterpretation.

This piece, part of my Masters Series, exemplifies my belief that great art is always in conversation with what came before. By reimagining Dürer's Rhinoceros, I hope to invite viewers to see this familiar image with fresh eyes, appreciating both its historical significance and its continued relevance in our contemporary visual culture.

The Masters Series - Gustav Klimt

Klimt's The Kiss and Dedichen's The Kiss

Gustav Klimt's "The Kiss" stands as a monumental work of art, both in its physical presence and its cultural impact. What drew me to this masterpiece was its commanding scale - life-sized figures on a 180cm x 180cm canvas - and Klimt's innovative use of oil paint incorporated with gold leaf. This technique beautifully marries the opulence of Byzantine mosaics with the intimacy of portraiture, creating a work that is both grand and deeply personal.

Klimt's inspiration from gold-detailed religious art of the Middle Ages and the sacred works of the Byzantine Empire is evident in the painting's luminous quality and ornate patterning. "The Kiss," as the culmination of Klimt's Gold Period, represents the pinnacle of his exploration with gold leaf in painting, elevating the materiality of the medium to new artistic heights.

In my reinterpretation of "The Kiss," I sought to honor Klimt's innovative spirit while infusing the work with my own artistic vision and techniques. Like Klimt, who was inspired by the mosaics in the church of San Vitale, I found myself drawn to the intricate patterns in the lovers' cloaks. These patterns reminded me of the elegant simplicity and bold designs found in Japanese woodcuts, creating an interesting parallel between Western and Eastern artistic traditions.

For my version, I chose to work with tempera paint on gold leaf, a technique that connects to the religious icons of the Middle Ages while allowing me to explore the luminous qualities of pigment. This choice of medium required extensive experimentation, particularly in achieving a craquelure effect that echoes the aged appearance of medieval icons. This textural quality adds depth and historical resonance to the piece, bridging centuries of artistic tradition.

In translating this work to a reproducible format, I was inspired by the rich history of Japanese printmaking. This influence is evident in the flattened planes of color and emphasis on decorative patterns. At the same time, I incorporated elements of Klimt's signature Art Nouveau style, with its organic forms and sumptuous ornamentation.

Further pushing the boundaries of reproduction and interpretation, I embraced Andy Warhol's philosophy that "200 is better than one." This led me to create a series of archival pigment prints, each subtly different from the last. This approach not only pays homage to Warhol's exploration of mass production in art but also allows for an interesting examination of how slight variations can affect our perception of an iconic image.

By combining the gold leaf technique of Byzantine and medieval art, the patterning influence of Japanese woodcuts, the sensuality of Klimt's Art Nouveau style, and the repetition philosophy of Warhol, I've created a work that is a true conversation across art history. It's a piece that honors the past while firmly situating itself in the present, inviting viewers to see this familiar image of love and intimacy through a new, multifaceted lens.

This reinterpretation of "The Kiss" exemplifies my belief that great art is always in dialogue with what came before, while simultaneously pushing forward into new territory. By reimagining Klimt's masterpiece, I hope to encourage viewers to consider the ways in which artistic influences transcend time and culture, creating a rich tapestry of visual language that continues to evolve and inspire.