About ten years ago, while still in graduate school, Homstvedt started experimented with the re-purposing of materials left over from a days work in the studio. He thought it was a shame not to use the colors left on my palette for something. The result was often loosely sketched ideas painted in thick strokes. He would, in turn, paint over these regularly, canceling out whatever was on the canvas previously.
Homstvedt been doing these 'Remnant Paintings" parallel to his other work in a daily studio practice for years now. Depositing paint onto (usually) small canvas panels, these start with thick painterly smears. Layer upon layer, the oils used here are taken from other paintings. In this way the "Remnant Paintings" contain a history of his painterly efforts.
Gradually, these panels take shape as each layer is allowed to dry for months and years. Erasing and adding. Layer upon layer, the left-over material are shaped, organically, into new paintings. In the final form exhibited, these panels reveal a stratified palimpsest hinting at its memory of production as well as edited imagery. Painting upon paintings.
About Håvard Homstvedt
Though representational, Håvard Homstvedt’s paintings and sculptures draw particular attention to texture and surface through the use of textile-inspired patterns. “I like textures and the feel of handicrafts—the imprint, or weave, if you can put it this way,” he has said. “Often a kind of textile texture is present.” From Homstvedt’s patterns, illusionistic yet ambiguous spaces and scenes emerge. In Wall (2006), a strange creature moves through a universe of stripes; in Tarp (2005), figures composed from various patterns—lace, crinkly gold, muted stripes—struggle under the weight of a coffin.
Norwegian, b. 1976, based in New York & Paris