Øyvind Torseter –
Øyvind Torseter is a Norwegian artist, illustrator, comic book artist, and author. Torseter studied illustration at the Merkantilt Institutt in Oslo, the Skolen for Grafisk Design in Oslo, and the Kent Institute of Art and Design in England. In addition to his own books, books illustrated by Torseter include My Father’s Arms Are A Boat by Stein Erik Lunde. During his career, Torseter has emerged as one of Norway’s foremost illustrators.
http://fukt.de/ One of my favourite contemporary magazines, this is great if you’re interesting in drawings- check it out!
What is FUKT?
FUKT is a magazine for contemporary drawing. It comes without ads, beautifully designed with a focus on the visual, with occasional interviews with interesting artists and essays by engaging authors. The design and format are changing for each issue.
How long has FUKT been around?
Established in Trondheim, Norway 1999 and based in Berlin, Germany since 2001.
Who is behind the publication?
Björn Hegardt is the editor and Ariane Spanier is doing the design. We also have help from
Maria Nogueira and Stephie Becker with design.
How often is FUKT published?
Annually, usually in september each year.
What does Fukt mean?
Other than the obvious meaning, it also translates “moist” or “damp” in Norwegian and Swedish.
Can I subscribe to FUKT?
No, not for the moment. Too much of an obligation for us.
Where can I buy FUKT?
Check under Contact to find out stores selling FUKT. Or ask your local art bookshop to order! If you have a bookshop, the best is to take contact directly with one of our distributors (check contact). Some issues you can also find by searching Amazon.
We do also ship directly from our studio, just send an e-mail to firstname.lastname@example.org and let us know which issue you would like to purchase.
Max Dalton – http://max-dalton.com/work/
David Shrigley: ‘I gave my book out at the pub – that’s how it all started’
You could have shown anywhere in London over the past ten years. Why Camden, why now?
‘You know, for a long time I had only one commercial gallery because it just seems like a lot of stress to have more. Waiting this long before showing in London gives me the chance to make a selection of my work. And I like Camden. It feels hidden, a bit secret. It suits me.’
‘It could be me in the top hat, it could be you’
Who are the Victorian types in your work – ancestors, ghosts?
‘Sometimes the people are from 200 years ago, sometimes 500. It all depends on what other pictures I’m into and what I’m reading. I like Hans Christian Andersen, things like that, so sometimes I’m completely inside another world.’
There’s a collage in your show called ‘In 100 Years’ but nothing much appears to have changed…
‘That’s because I think human beings are basically the same and always will be. It could be me in the top hat, it could be you.’
What are the main themes of your work?
‘It’s about relationships, about the Western world – how men treat women, how the bourgeoisie treat poor people. There’s a kind of sadness to it.’
‘Yes, but sometimes I want to make a joke of it too.’
Do you ever feel alarmed by the images you create?
‘Sometimes after a year I might think, “what’s this?”, but when I’m making them it’s more like dreaming. There’s a lot of self-representation involved – even with a woman or an old man or a tree. You go into yourself so much that they all become part of you. You don’t leave them before they have a character.’
What about the buildings in your pictures? They seem quite characterless…
‘I grew up in a Stockholm suburb in the 1960s, it was very modernist. We played inside, played hide and seek… That was my landscape.’
Did you want to be artist when you were a child?
‘No, I wanted to be a sailor. I had a lot of fantasies. I wanted to go around the world, I wanted to go to China. But when I was ten years old my teacher’s husband, who was a sailor, told me “Don’t be a sailor, it’s so boring”.’
‘Making drawings is the most important because it’s the most difficult thing for me to do’
You were a commercial illustrator for a while, did that shape your work?
‘I worked on a big morning paper in Sweden and every week they called me up to do an illustration for the music section. One week it could be the London Philharmonic, the next week it could be Billie Holiday. It was always so different so it was perfect for me – but after 100 weeks it was torture.’
You also worked as a children’s book illustrator, but your own art doesn’t seem very child-friendly. What do your own children think of it?
‘It’s really hard to say because they grew up with this strange world. They’re in their twenties now. Sometimes I think they think I’m an idiot.’
Which do you prefer – making drawings, collages or sculptures?
‘When you draw you feel your way, find something. Collage is much more simple in many ways – you just cut. I’ve always made sculptures but I’ve only showed them in the past six or seven years. They’re more like play for me. I’d say making drawings is the most important because it’s the most difficult thing for me to do.’