Oppland Art Center 2019

Exhibition at Oppland Art Center 2019. Photo: Øystein Thorvaldsen

Exhibition at Oppland Art Center 2019. Photo: Øystein Thorvaldsen

The Weight of a dead Rottweiler
Wool, clay, plastic.

Exhibition at Oppland Art Center 2019. Photo: Øystein Thorvaldsen

Exhibition at Oppland Art Center 2019. Photo: Øystein Thorvaldsen

Mantel for Maren 

The Night

 200x260x19 cm. 2017

In 2013, my mother was sent to a nursing home after a fall in her social security apartment. I stayed in this apartment for a few days while I visited her. In a small chest of drawers beside her favorite chair I found knitting needles and yarn. She herself had not knitted in years. I learned to knit as five to six years old, probably from Mom, something I only vaguely remember. Mom told, however, that she once looked into my room in the middle of the night and saw me still awake. I was sitting in my bed with huge, shining eyes, knitting on my project, which at that time was a teddy bear. Think it was yellow or brown.
   Knit interest went fairly quickly over, but now, as I sat in her apartment and she was lying in the nursing home and did not know where she was, I took up the knitting needles. 
    Some titles refer to my foremothers; Kari etc.

Exhibition at Oppland Art Center 2019. Photo: Øystein Thorvaldsen

Mantel for Maren 

The Eye
Knit work: Wool, cotton. 120x240x17 cm. 2016-2017

Studio Blikket 2018


Catalog: Thy Kingdom Come


Works on paper.

Berlin, September 2017

After the Mothers The Sons are the Next to Die

Notes on Urknallmutter

Oliver Koerner von Gustorf

Anyone who came in contact with feminism and the ecology movement as a teenager in the late 1970s will be familiar with the idea of the mother goddess. Demeter products were en vogue, as was The White Goddess, a book by the British poet Robert Graves that Read more

Ogar Grafe/Tore Magne Gundersen. Installation. Mix media.

TMG. Mantel for Ingeborg Tomine

Ogar Grafe. Performance:













Sound of Mu, Oslo, 2013


(With Anne Bang-Steinsvik)

Eye-catcher. Clay, acrylic paint. 

Pet. Clay, acrylic paint. 

Monster. Acrylic on canvas, wool. 28x37

Acrylic on canvas, wool. 80x100cm
                  Acrylic on canvas, wool, cotton. 80x100cm

 White Flag. 
Acrylic paint, wood, wool, clay. 35x39cm

Black Flag.  
Acrylic paint, wool, wood, clay. 35x50cm  


prinz-georg // raum für kunst, Berlin 2012

Group exhibition: «Material matters»

My contribution was "Rastergeist", a wall installation consisting of two - and three - dimensional objects. The latter in air drying clay. Some images are scanned and printed polaroid. The rest is made by scanning etchings I made a few years earlier. They were enlarged up to such a degree that they became abstract images and then printed. Figures painted with gouache were added. Finally, they were mounted on cardboard. The result was human or human-like figures in a sort of desolate "lunar landscape".

Rastergeist. Ca 3x1,7m

Rastergeist. Each picture: 38,5x11cm

Christiansands Art society 2008

Tore Magne Gundersen is a an artist who works in a variety of techniques. The exhibition in the Art Society consists of acrylic paintings on canvas. Gundersen has since the 1980s worked within a neo-expressionist tradition. A characteristic feature of neo-impressionism is simple "naïve" figurations, bold brushstrokes and bright colors. Gundersen has stuck to his expressive painting and storytelling. Such continuity helps to give the images a sincerity that is distant from the well-known postmodern irony. The fact that the artist always base his works on personal experiences and emotional states also helps to reinforce an authentic presence in this oeuvre. The often enigmatic and ambiguous images has elements of absurd humor and insists paradoxically to be taken seriously. Another characteristic of Gundersens images is a muted palette where at times cartoony characters recur  and act in different roles. Gundersen frequently uses experiences from his own childhood and youth. It's as if he's playing roles in the play of his own life. Instead of building up a classic narrative structure he works in a more open and poetic way. The images are personal without being private. They are perceived as generous, as an invitation to fantasize on your own.

Aage Langhelle, curator

                                        All paintings: acrylic on canvas. 140x120cm

The Sausage Man

The Marsh

Overall. 100x80cm



Thora G.

The Blood Test

Sound of Mu, Oslo 2007

Zoloft. Acrylic on canvas. 70x55cm

Coot. Acrylic on canvas. 22x55c

Cosmic Buttons, Acrylic on canvas. 55x55cm

Lose Laces. Acrylic on canvas. 55x55cm

Pilot. Acrylic on canvas. 55x55cm

The Prodigal Son. Ink. 31x23cm

Death Pond. Ink. 31x23cm

Bon Voyage. Ink. 31x23cm

The Drawing Association, Oslo 2004

Ink on Paper

Crime Scene 1. 50x50cm

Crime Scene 2. 50x50cm

Crime Scene 3. 50x50cm

Crime Scene 4.  40x50cm
Crime Scene 6. 40x40cm

Crime Scene 7. 40x40cm

Crime Scene 8. 40x40cm

Norwegian Printmakers Gallery,  Oslo 2001

Pretending a Shoe.  Drypoint. 40x40cm

To a Cruel Communion.  Drypoint. 50x50cm

Ulf's underpants.  Drypointl. 40x40cm

Skies Never Lie.  Drypoint. 40x40cm

The Bleeding Plank.  Drypoint. 40x40cm

Leonardo.  Drypoint. 40x40cm

Like a Closed Sorcery Bok.  Drypoint. 50x50cm

Thoughtless to Her Beloved.  Drypoint 50x50cm

Drone Kiss.  Drypoint. 50x50cm

She Waits In the House With Knitting Needles. Drypoint. 50x50cm

Like Heavy Honey From the Hive. Drypoint. 50x50cm

Galleri GO, Stettin, Polen 1998

The exhibition consisted of a series of images, each 20x22cm. The images are based on a series of polaroid taken Easter 1983 in the kitchen of my apartment. They were then put together and called "Gloomy Sunday" (pictured above).
For the exhibition in Stettin I scanned these and other polaroid, enlarged them and mounted them on cardboard. This series I called "Kunststykket."

UKS, Oslo 1990

The Forefathers


(The Throne). Wood. H: about 250cm.

Detail. Wood.

Wood. 50x50x50cm.

The Forefathers. Detail. Wood. 

The Forefathers. Detail. Wood. H: 260 cm