Liv Ottersen

When I lived in Granada, Spain, I got fascinated by the arabic patterns that was all over the city and adorned the Alhambra castle. I did not know then that these designs were something deeper than being beautiful and decorative. When I started to study sacred geometry, I understood that they held deeper truths. When you start working with these patterns you gets a glimpse into a universe where many puzzles start falling into place. It's like a base system, a code that everything springs from. These patterns have been found in many continents, even the Vikings used them.

In my work I use these designs in many different ways and techniques. I also tie them in with mythology and other forms of historical works that have patterns and archetypes. In some of my later works I use the patterns seen in knitted women crafts and everyday work. I noticed that these everyday works had been overlooked in their significance as an art form in its own right with direct links to the ancient past consistently. Although, in recent history, many artists have been embraced for interpreting these crafts into artwok.

Maybe these feminine works have been held alive intuitively or unconsciously but excluded by art historically.

I'm using femini...

College of Art and the Design for teachers (one year)
NORWAY
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Westerdals college of Art Direction and Advertising (2 years)
NORWAY
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College of arts and Craft Drawing classes (1/2 Year)
NORWAY
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Art Institute of Southern California (BFA)
USA
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Otis College of Art and Design MFA (1 Year)
USA
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-Solo exhibition in Kiøsterudgården (house conected to Edward Munch).
-Solo exhibition in St Olavs church London.