bertil greging

visp

Galleri Golsa is proud to present our second solo exhibition with Norwegian artist Bertil Greging. The exhibiton consist of collages, installations and intimate drawings. The title comments his working process where motives and techniques are in constant change.

The basis of his work is drawing. He constantly evolves, change and challenge the motives. The work ranges from expressionism to figurative drawings, often with a touch of irony. Motives can be cut, ripped, glued and painted over until it reaches a balanced state. The work is never done until it’s on the wall. He works with the materiality that paper gives him and the material itself plays an important role in the work.

The work has a playfulness that gives them a powerful visual impact. The audience has to submit to Greging’s universe to fully see the works for what it is. Friedrich Nietzsche wrote “Man's maturity: to have regained the seriousness that he had as a child at play.” It’s a quote that has been important to Greging. The work is about himself, but he never lets go of his desire to create and play with the expectations of the viewer.

Central in the exhibition is a work consisting of 460 intimate drawings. During restless nights Greging finds himself on the sofa sketching, drawing and creating. The work shows a span in techniques and how he never stops to challenge himself. Together they create a map to his practice and his mind. From the drawings we can see elements reappear in his bigger works and how they are a basis of his practice.

One of his strengths lie in the fact that the audience has to co-create to have the full experience. Themes that are started in one work is continued or completed in others. The work is ever changing and you have to be observant to follow the line of thought that has been laid out for the observer. 



  • Typically for Bertil Greging works, is the exchange between the mischievous and the expressive on one hand, and the formal and minimalistic on the other. The artist allows different visual expressions and seem comfortable in different artistic directions; such as abstract, figurative and expressionistic and conceptual. Greging is an artist who grows chaos, both in his studio and in the imagery, but at the same time, it is clear through his works, that there is a wish to create an underlying order in this chaos. The expressive collages are places on “hard edge”-paintings, where the uncontrolled meets the controlled.

    Greging works within a direct line of art history, the exhibition room and his own personal history. The humorous is present, but also traces of vulnerability and simplicity. At first, it may seem that the artworks have a factor of banality around them, but when looking at them more closely it gives an impression of being sensitive. By constantly balancing on the edge of different directions and combinations, Greging creates artworks that engage and challenge the viewer.

    A selection of his lasted exhibitions include: No More No Less, Rod Bianco, 2017. In 2015 he showed his works at Kunstnerforbundet and Tegnerforbundet (Oslo). Prisme: Tegning fra 1990-2012, Museum of Contemporary Art, the National Museum, Oslo, 2012. Høstutstillingen, Kunstnernes Hus, Oslo, 2008. Greging has his education from Westerdahl Reklameskole (1973-1976, Oslo) and from Einar Granum Kunstskole (1976-1977, Oslo).

    Collections such as the National Museum in Oslo, Norsk Kulturråd, Malmö Konstmuseum and Det norske Storting Statoil has bought Gregings work. 

  • Ut av det blå, 2018

    Acrylic on paper

    180 x 200 cm

Galleri Golsa is proud to present our second solo exhibition with Norwegian artist Bertil Greging. The exhibiton consist of collages, installations and intimate drawings. The title comments his working process where motives and techniques are in constant change.

The basis of his work is drawing. He constantly evolves, change and challenge the motives. The work ranges from expressionism to figurative drawings, often with a touch of irony. Motives can be cut, ripped, glued and painted over until it reaches a balanced state. The work is never done until it’s on the wall. He works with the materiality that paper gives him and the material itself plays an important role in the work.

The work has a playfulness that gives them a powerful visual impact. The audience has to submit to Greging’s universe to fully see the works for what it is. Friedrich Nietzsche wrote “Man's maturity: to have regained the seriousness that he had as a child at play.” It’s a quote that has been important to Greging. The work is about himself, but he never lets go of his desire to create and play with the expectations of the viewer.

Central in the exhibition is a work consisting of 460 intimate drawings. During restless nights Greging finds himself on the sofa sketching, drawing and creating. The work shows a span in techniques and how he never stops to challenge himself. Together they create a map to his practice and his mind. From the drawings we can see elements reappear in his bigger works and how they are a basis of his practice.

One of his strengths lie in the fact that the audience has to co-create to have the full experience. Themes that are started in one work is continued or completed in others. The work is ever changing and you have to be observant to follow the line of thought that has been laid out for the observer. 



  • Typically for Bertil Greging works, is the exchange between the mischievous and the expressive on one hand, and the formal and minimalistic on the other. The artist allows different visual expressions and seem comfortable in different artistic directions; such as abstract, figurative and expressionistic and conceptual. Greging is an artist who grows chaos, both in his studio and in the imagery, but at the same time, it is clear through his works, that there is a wish to create an underlying order in this chaos. The expressive collages are places on “hard edge”-paintings, where the uncontrolled meets the controlled.

    Greging works within a direct line of art history, the exhibition room and his own personal history. The humorous is present, but also traces of vulnerability and simplicity. At first, it may seem that the artworks have a factor of banality around them, but when looking at them more closely it gives an impression of being sensitive. By constantly balancing on the edge of different directions and combinations, Greging creates artworks that engage and challenge the viewer.

    A selection of his lasted exhibitions include: No More No Less, Rod Bianco, 2017. In 2015 he showed his works at Kunstnerforbundet and Tegnerforbundet (Oslo). Prisme: Tegning fra 1990-2012, Museum of Contemporary Art, the National Museum, Oslo, 2012. Høstutstillingen, Kunstnernes Hus, Oslo, 2008. Greging has his education from Westerdahl Reklameskole (1973-1976, Oslo) and from Einar Granum Kunstskole (1976-1977, Oslo).

    Collections such as the National Museum in Oslo, Norsk Kulturråd, Malmö Konstmuseum and Det norske Storting Statoil has bought Gregings work. 

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