Britt is as enigmatic as she is revered and is considered one of the important Norwegian artists of this century. Steeped in the early influences of abstract expressionism, she studied painting and sculpture under Ellen Christensen and Ferdinand Lunde in Oslo in the late 1950

As a multi-media artist with a strong background in metal design, I am seduced by the limitless potential of sterling silver, bronze, and steel. My enthusiasm for the techniques and traditions of metalwork is rivaled only by a wild preoccupation with mechanical toys and the discrepancy between the public’s perception of an imagined techno-future and that future that we now inhabit.

My zoetropic works consist of a cast of solid inflexible characters engaged in repetitive motions, which conjure dreamy cinematic operations and allude to a modern life characterized by escapism, frenzy, and consumption. With these installations I intend to mesmerize and enchant the viewer through optical illusion and sound; possessed silhouettes in flickering shadow figure prominently throughout my kinetic compositions while juxtaposing merriment and exhilaration with apprehension and bewilderment. This carnivalesque world illuminates social disparities – studies in deviance and spectacle that reflect the conflicting dynamics of attraction and repulsion.

The juxtaposition of humor and charm with iconic memory and craftsmanship lures viewers into a playful state where magic is encouraged to linger. Using plush and tin toys as metaphors, I create installations and videos highlighting the societal penchant for over-consumption and over-production. I deconstruct grossly abundant supplies of forgotten toys to reveal not only the function of minute inner mechanisms, but also the unseen beauty of design and alternate personas.

Driven by a fascination with the fleeting value placed on low-priced multiple objects farmed out of factories in record numbers, I take unstuffed, discarded, mechanical rejects and introduce new identities. The underlying plastic object embodies more potential for my imagination than the stuffed object layered with intricate marketing identities. It is these unstuffed plastic oddities that I reinvent in precious metals. This contrast between the discarded forgotten object and the cherished one underscores societal contradictions and reintroduces us to the magical quality of flipping frogs, drumming monkeys, and slowly turning carousels.

Education

1997

Christopher Winter is a member of the Artists Group Special X

Education

Oct. 1996 – June 1998 Kunstakademie D

She has exhibited solo projects in Europe and New York at spaces including the New Museum, New York, Power Plant, Toronto, and the Jeu de Paume, Paris. Her work is in public collections including the Guggenheim Museum Collection, the Dikeou Collection, the Saatchi Collection, and the Zabludowicz Collection

Recently Snow participated in group exhibitions including: New York Minute at the Macro Future Museum, Rome; Abstract America: New Painting and Sculpture at the Saatchi Gallery, London; SAND: Memory, Meaning, and Metaphor at the Parrish Art Museum, New York; The Whitney Biennial at the Whitney Museum of American Art, New York; In Practice at Sculpture Center, New York; Three for Society at 303 Gallery, New York; Beneath the Underdog at Gagosian Gallery, New York; Dimes of March at Reena Spaulings Fine Arts, New York; and Concrete Castle at Le Confort Moderne, Pointers, France.

Snow has been featured in Artnet, V Magazine, i-D Magazine, Papermag, Interview Magazine, The New York Times and Visionaire 57: 2010.

Michael Mundy is one of the great interior and portrait photographers of our times. His work taps into the soul of everything from architectural spaces to noted personalities, as well as fashion. He has worked for some of the world