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Vanessa Baird
How would you define your relationship to the tradition
of painting?
It all depends on what paintings we are talking about.
Living in Oslo, Edward Munch is of course a source of
inspiration.
What are your other major influences or sources of inspiration?
My mother, who is an artist and my sister. I also have
had a colleague, Mette Hellenes, for many years. We collaborate
on many projects.
British illustrated children’s books and William Hogarth’s
works have been cited in some texts connected to you.
Could you say something about these sources?
It is all part of my childhood. My mother is Scottish
and these children’s books, like Alice in Wonderland,
have always been around. As for Hogarth – his works have
not been that important for me.
Does painting have some unique qualities that have
resulted in your choosing this medium?
Painting is challenging. I paint actively only for shorter
periods and actually don’t have that strong a relationship
with painting itself. When I see, for example, Edward
Munch’s works, I am struck by the realisation that my
own paintings don’t have enough essential qualities, which
I would like to achieve. I can’t really provide any deep
explanations.
Besides painting you also work extensively with drawing
and watercolours.
Yes, drawing and making watercolours is more direct and
spontaneous.
At what point do you name your works?
I carry various titles with me for long periods – some
titles have been around for years. Sometimes my mother
‘nicks’ titles from me and on other occasions I do the
same for her.
Are there any other literary sources which are important
to you?
Illustrations from Norwegian folk-tales seem to appear
in my works again and again.
Personal experiences are a starting point for some
of your works. How do you continue to make these feelings
accessible to the viewer? How do you make the personal
into the general?
I don’t consciously want to make any statements. Of course,
when the work leaves my studio, it ceases to be mine.
On the other hand, I don’t really see my works as separate
from myself.
What about autobiographical elements in your works?
It is all there in the works. The elements come out from
my own experiences in life. They look quite a lot like
I.
Some of your newer works are amateur paintings from
the flea market, onto which you have added different human
figures. What are the reasons behind this appropriation?
I have always wanted to scribble on old masters in the
National Gallery in Oslo. The flea-market version was
a cheap and possible substitute for that. These works
are small invasions into other people’s paintings – it
is fascinating to be able to change the work and its meaning.
You have quite strong opinions about women’s rights
and politics. Your works also contain elements and ironic
references to issues like national clichés and
folklore. Do you think one can have an effect with art?
Is there such a thing as artists’ morality?
Of course, there is such a thing as morality. My moral
and political points of view are an integral part of my
life. Obviously this comes across in my work. Feminism
is, of course, a central point of departure – it is part
of being alive.
Kari Immonen
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Vanessa Baird
Without Ideas the Cows Exist
from Day to Day
(Uten ideer lever kuene fra
dag til dag)
1996
pastel on paper
110 x 82
Courtesy of Galleri Wang, Oslo
Vanessa Baird
Your Youth Looks Like a Hard Green Bud
(Vad du är ung! En grön liten kart)
2000
oil on canvas
27 x 34,5
photo: Sakari Viika
Courtesy of Galleri Wang, Oslo
Vanessa Baird
From the series
I Never Knew that Hours and
Days Were Life Itself /
Remind Me Who I Am Again
(Inte visste jag at timmarna var
själve livet)
2001
watercolour on paper
29 x 38
photo: Stein Jörgensen
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