PACE

The works in this exhibition operate at the intersection of sound, drawing, and moving image, where rhythm and repetition become strategies for both making and meaning.

The "Noise Drawings" originate from manipulated sound and signal, translated into a tactile register. They are not illustrations of sound but subjective readings - a physical manifestation of interpreting through the hand. The structured surface of the paper, together with the pressure of the pastel, determines how the marks settle, leaving traces that seem random. Yet these drawings embody the tension between disorder and system: our compulsion to read into abstraction, to identify forms, to locate meaning, to see patterns where at first there appears only disturbance.

The "Tangle Drawings" shift this exploration into a more embodied metaphor, where the knot becomes both an obstacle and a possibility - a visualisation of coping and problem-solving. Observing, pulling, pushing, loosening, tracing and retracing, the drawings record a slow search for solutions, for connections, for release, for ways through.

The film "PACE" extends these concerns into movement and time. Structured as a disjunctive, associational montage across two screens, its imagery includes the close-up of a horse’s breathing nostrils, hands pulling at rope, a woman juggling, and footage from the prow of a boat struggling to keep the horizon in line. The scenes do not form a linear narrative but unfold associatively, each fragment linked through rhythm, gesture, and resonance. There is an underlying sense of breaking out of the loop of repetition.

The soundtrack, similarly, is rhythmic yet slightly lagging - almost keeping time but never fully coinciding - evoking the sensation of being out of step, an understanding and sense-making that emerges only in hindsight.

Patterns, repetitions, and cycles underpin the collection of works in this exhibition: the cycle of breath, of effort and release; of learning through repetition and recognition; the cycles of the body, the seasons of the earth, and the rhythms of the cosmos. They offer a way of grasping complexity, of staying with uncertainty, and of recognising that order is always provisional, always in flux.

Nedreaas works in a variety of media including drawing, sculpture and photography and is best known for her intriguing and uncanny films. Her work teases to the surface the human desire to control, to excel, to fabulate, to identify, to order, to assert oneself - all as a means to find purpose, to keep carrying on, and fundamentally, to belong. Through intimate, playful performances and makeshift materials, her work explores our shared experience of a temporal existence in a relentless eternity.

Nedreaas’ films lie somewhere between the realms of portraiture, performance, and documentary and are assembled into rhythmic multi-screen installations with a symbolically rich and visual language. Her film works often portray solitary performers on the fringe of society, isolated from their usual audience and stage, absorbed in their own specialist act. Their years of practice and effort is made palpable through Nedreaas’ use of intimate close ups and her use of scratches and light spills on the film material echoing the physical scars and imperfections of a lived life, of meetings and the passage of time. Nedreaas’ visually rich and disconcerting work conveys a sense of instability and fragility, as well as a sense of agency in a world that carries on regardless.

Nedreaas´ work has been exhibited worldwide. Notably at the billboards of Times Square in New York, in the Mori Art Museum (Tokyo), PS1 MoMa (NY), Kunstwerke (Berlin), Palazzo delle Arti (Napoli), Everson Museum (NY), Kunstverein Schwerin, New Center for Contemporary Art (Louisville), MACRO, Museo d'Arte Contemporanea (Rome), International Biennial Bienalsur in Buenos Aires, Boca Raton Museum in Miami, Art Pavilion in Zagreb, Albright Knox Gallery (Buffalo, NY), Astrup Fearnley (Oslo).

Nedreaas work is represented in private as well as in public collections like Nasjonalmuseet, KODE i Bergen, Stavanger Kunstmuseum, Albright Knox Collection USA, Neuer Berliner Kunstverein Berlin, and Staatliches Museum Schwerin Germany. Nedreaas has developed commissioned artworks for Den Norske Opera og Ballett in Oslo, Koksa property at Fornebu and for Inspiria Science Centre in Moss. Trine Lise Nedreaas studied art history at the University of Bergen and Fine Art in London at Central Saint Martins and at the Slade School of Fine Art. After many years in London and Berlin, Nedreaas now lives and works in her hometown Bergen in Norway.