In the beginning Painting

Elin was born in 1964 and lives and works in Oslo, Norway. She has been a freelance artist since 2000 and is a member of NBK, the Norwegian visual artist association. She has had a number of solo exhibitions and has participated in several collective exhibitions. In recent years Elin has had three decorating assignments. One for Sparebanken Hedmark at Stor-Elvdal junior high school in Koppang, for the Tyrili Foundation at Lillehammer and for Tretten senior and nursing home. Welcome to the experience and wonder of Elin's artistry! “I aim at achieving a type of dissolved state of being. A fusion. The perfect moment. An encounter in the gap, that has to do with rhythm. That is where we first meet. In the unspoken, before the intellectual interpretation takes over and I slowly come into being.” Inspiration For Bergstø Rossing working with art is about tuning in to the Universe’s vibrations. It’s about letting go of mind and time. Entering the unforeseen, a doorway to creating something that does not yet exist. Not knowing how a picture will end up whilst totally embracing the language that emerges along the way is both demanding and exciting. Renowned Norwegian art critic Kjetil Røed has this to say about the artist: The inner and outer meet In Elin Bergstø Rossing's paintings we are presented with a place between outside and inside, between the surface and all that hides behind. We are placed in a zone where the surface and the world’s interior - its machinery or bowels - converge into one, continuous, visual system. Just look at In Between Space (2017), where faces (humans) and a bird's head with an open beak meet, together with something reminiscent of jellyfish or a cross-section of trees mixed with discs, gears, pulley systems, charts and metal grids that add a whole industrial feel and increase the impression that we are inside the interior of the actual production, factory or body. Coming in from the left are sharp, geometric shapes reminiscent of architectural drawings or small houses which carry a separate set of gears, as if they were independent small machines in the paintings’ diverse circulatory of forms. The biological and mechanical are mixed together, milled into a vortex that dissolves any clear distinctions between the interior and the exterior.