www.nkl.snl.no:
Marit Wiklund begynte sin virksomhet som skulptør med aktfremstillinger og portretter. Disse genrene hadde en dominerende plass i Per Palle Storms undervisning, men hennes formspråk kom, med sin realistiske karakter, til å avvike fra lærerens akademiske naturalisme.
Allerede på hennes første utstilling i Billedhoggerhuset, Oslo, kom dette til uttrykk. Senere skulle W. først og fremst bli fremhevet for sin evne til individuell karakteristikk av modellen, noe man så av bystene på den egentlige debututstillingen i Galleri Tanum i 1975 (Kjell Askildsen, Thomas Mürer). Utnyttelsen av betong-materialets særegne karakter ble også bemerket.
W. har villet sprenge den tradisjonelle, eksklusive skulpturens grenser. Derfor begynte hun å arbeide i mindre formater fra midten av 70-åra. Motivene var ofte hentet fra arbeidslivet. I motsetning til den tradisjonelle heroisering hos f.eks. Jules Dalou og Constantin Meunier, la W. an på å innfange en hverdagslig karakter i skildringen. Typisk i så måte er hennes Tunnelarbeidere (1980), der to stående mannsskikkelser i ledig samtale er modellert med en livlig overflatevirkning. Røffere er fremstillingen i den enbente Krigsseiler, som stirrer indignert opp fra krykkene.
W.s engasjement har også vært knyttet til innen- og utenrikspolitiske konflikter, og hun har laget typer og små grupper som understreker det heroiske ved samenes, afghanernes og palestinernes kamp for sine rettigheter. På gruppeutstillingen Oslo - Oslo 1981, viste hun legemsstore punkere i bemalt betong, og sjelden har et materiale fungert så talende som i skildringene av representantene for denne fargerike asfaltklanen.
Ved siden av skulpturene har W. også en omfattende praksis som illustratør og tegner, og også i dette mediet stammer en hoveddel av motivene fra arbeidslivet.
Translation
www.nkl.snl.no:
Marit Wiklund began his business as a sculptor with acts and portraits. These genres had a dominant place in Per Palle Storm's teaching, but her design language, with its realistic character, diverged from the teacher's academic naturalism.
This was already expressed at her first exhibition in Billedhoggerhuset, Oslo. Later, W. was first and foremost to be emphasized for his ability to individually characterize the model, as seen by the busts at the actual debut exhibition in Gallery Tanum in 1975 ( Kjell Askildsen, Thomas Mürer ). The utilization of the peculiar nature of the concrete material was also noted.
W. has wanted to push beyond the boundaries of traditional, exclusive sculpture. Therefore, she began working in smaller formats from the mid-70s. The motives were often taken from working life. Contrary to the traditional heroism of e.g. Jules Dalou and Constantin Meunier, W. set out to capture an everyday character in the portrayal. Typical in this regard is her Tunnel workers (1980), where two standing male figures in free conversation are modeled with a lively surface effect. Roughers are the fabrication of the one-legged war sailor , who stares indignantly from the crutches.
W's involvement has also been linked to domestic and foreign political conflicts, and she has created types and small groups that emphasize the heroic of the Sami, Afghans and Palestinians' struggle for their rights. In the group exhibition Oslo - Oslo 1981, she displayed body-sized punks in painted concrete, and rarely has a material acted as eloquently as in the depictions of the representatives of this colorful asphalt clan.
Alongside the sculptures, W. also has an extensive practice as an illustrator and draftsman, and also in this medium a majority of the motifs originate from working life.
www.wikipedia.org:
Marit Wiklund (born October 8, 1945 in Trondheim ) is a Norwegian caretaker and draftsman. She has performed expressive portrait heads of between other Kjell Askildsen and Thomas Mürer (1975), often in concrete , and has derived motifs from other working life (Tunnel workers, 1980).
The National Museum / Museum of Contemporary Art in Oslo owns two of her sculptures. From public work, she has among others performed a portrait support in bronze by Edvard Grieg , listed at Grev Wedel's place in Oslo (1993), King Olav 5th in Tromsø (1994), Double roof, Granåsen ski arena in Trondheim (1997), bust of Gunnar Jahn at Bankplassen in Oslo (1998), and relief of former County Governor Anders Aune in Vadsø in 2008.
Marit Wiklund begynte sin virksomhet som skulptør med aktfremstillinger og portretter. Disse genrene hadde en dominerende plass i Per Palle Storms undervisning, men hennes formspråk kom, med sin realistiske karakter, til å avvike fra lærerens akademiske naturalisme.
Allerede på hennes første utstilling i Billedhoggerhuset, Oslo, kom dette til uttrykk. Senere skulle W. først og fremst bli fremhevet for sin evne til individuell karakteristikk av modellen, noe man så av bystene på den egentlige debututstillingen i Galleri Tanum i 1975 (Kjell Askildsen, Thomas Mürer). Utnyttelsen av betong-materialets særegne karakter ble også bemerket.
W. har villet sprenge den tradisjonelle, eksklusive skulpturens grenser. Derfor begynte hun å arbeide i mindre formater fra midten av 70-åra. Motivene var ofte hentet fra arbeidslivet. I motsetning til den tradisjonelle heroisering hos f.eks. Jules Dalou og Constantin Meunier, la W. an på å innfange en hverdagslig karakter i skildringen. Typisk i så måte er hennes Tunnelarbeidere (1980), der to stående mannsskikkelser i ledig samtale er modellert med en livlig overflatevirkning. Røffere er fremstillingen i den enbente Krigsseiler, som stirrer indignert opp fra krykkene.
W.s engasjement har også vært knyttet til innen- og utenrikspolitiske konflikter, og hun har laget typer og små grupper som understreker det heroiske ved samenes, afghanernes og palestinernes kamp for sine rettigheter. På gruppeutstillingen Oslo - Oslo 1981, viste hun legemsstore punkere i bemalt betong, og sjelden har et materiale fungert så talende som i skildringene av representantene for denne fargerike asfaltklanen.
Ved siden av skulpturene har W. også en omfattende praksis som illustratør og tegner, og også i dette mediet stammer en hoveddel av motivene fra arbeidslivet.
Translation
www.nkl.snl.no:
Marit Wiklund began his business as a sculptor with acts and portraits. These genres had a dominant place in Per Palle Storm's teaching, but her design language, with its realistic character, diverged from the teacher's academic naturalism.
This was already expressed at her first exhibition in Billedhoggerhuset, Oslo. Later, W. was first and foremost to be emphasized for his ability to individually characterize the model, as seen by the busts at the actual debut exhibition in Gallery Tanum in 1975 ( Kjell Askildsen, Thomas Mürer ). The utilization of the peculiar nature of the concrete material was also noted.
W. has wanted to push beyond the boundaries of traditional, exclusive sculpture. Therefore, she began working in smaller formats from the mid-70s. The motives were often taken from working life. Contrary to the traditional heroism of e.g. Jules Dalou and Constantin Meunier, W. set out to capture an everyday character in the portrayal. Typical in this regard is her Tunnel workers (1980), where two standing male figures in free conversation are modeled with a lively surface effect. Roughers are the fabrication of the one-legged war sailor , who stares indignantly from the crutches.
W's involvement has also been linked to domestic and foreign political conflicts, and she has created types and small groups that emphasize the heroic of the Sami, Afghans and Palestinians' struggle for their rights. In the group exhibition Oslo - Oslo 1981, she displayed body-sized punks in painted concrete, and rarely has a material acted as eloquently as in the depictions of the representatives of this colorful asphalt clan.
Alongside the sculptures, W. also has an extensive practice as an illustrator and draftsman, and also in this medium a majority of the motifs originate from working life.
www.wikipedia.org:
Marit Wiklund (born October 8, 1945 in Trondheim ) is a Norwegian caretaker and draftsman. She has performed expressive portrait heads of between other Kjell Askildsen and Thomas Mürer (1975), often in concrete , and has derived motifs from other working life (Tunnel workers, 1980).
The National Museum / Museum of Contemporary Art in Oslo owns two of her sculptures. From public work, she has among others performed a portrait support in bronze by Edvard Grieg , listed at Grev Wedel's place in Oslo (1993), King Olav 5th in Tromsø (1994), Double roof, Granåsen ski arena in Trondheim (1997), bust of Gunnar Jahn at Bankplassen in Oslo (1998), and relief of former County Governor Anders Aune in Vadsø in 2008.