Welcome to my website!
….And thank you for taking the interest to look at my about page!
A bit about myself...
I work in the physical and digital, combining these two realms to create illustrative, conceptual and abstract pieces, projections and installations aiming to create sensory experiences through sound, video and animation. One of my recent pieces is from an exhibition held at Central Saint Martins, where I am currently studying my BA in Fine Art (see Fig. 1.) This piece was projected over a piece collaborated on with other students. (See Fig. 2.)
Fig. 1. Organism, Animation, Gina Rosvold-Haghpanah (2023)
Fig. 2. Organism, Fragmentation Exhibition, Gina Rosvold-Haghpanah (2023)
My practice draws on the fields of science, psychology, and nature, themes include political ideology such as feminism and freedom movements, existentialism, and the human condition.
I often think about the longevity of my work, where will it be, who will see it, what will it mean when I am gone? Or if the world is gone. This influence has come from reading ‘The World Without Us’ by Alan Weissman, 2007. What would happen if humans disappeared, where would my work go?
The texts of philosophers Luce Iragaray and Harriet Hawkins and feminist film theory are very important within my work. I am also inspired by Susan Sontag’s Against interpretations, one of my favourite quotes from Sontag from this direct essay ‘A work of art encountered as a work of art is an experience, not a statement or an answer to a question. Art is not only about something; it is something.’
My art is made through trance painting, letting go and being loose with the shapes and where outcomes are often reduced to illustrative shapes and lines that are organic and free. This feels that I am able to connect at a deeper level with the pieces I create. The work is an embodiment of nature representing human cells, organisms, tree roots, veins, geometric and dendritic patterns and symbols. Eyes are also often present in my work, I am fascinated by ‘Pareidolia’, the brains need to make sense of the things we see around us, a lot of my work ends up having eye-like patterns.
Through this, I align my work with the arts and crafts, Avant Garde and psychedelic art movements.
A lot of my work has influences from my Kurdish and Norwegian background. My inspiration and reference is the landscape and being in nature in Norway as it brings a sense of nostalgia. I extract organic patterns from the surroundings there, inspired by the interconnection our bodies have with the world. Painting the forms I see helps me to make sense of the world. I am also inspired by patterns from the Kurdish tattoo practice of Deq, which uses beautifully minimalistic and symmetric ancient symbols. I often encompass these symbols within my own work as a tribute to the tradition.