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OLE FOLMER HANSEN, Painter
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Copyright art and photos © 1997 Ole Folmer Hansen
BIOGRAPHY
Diplom / Diploma:
Cena Masarykovy Akadekie Uméni'. Prag, Tjekkiet.
Repræsenteret på / Represented at:
Kobberstiksamlingen, Statens Museum for Kunst, København. Fyns Kunstmuseum, Odense. Åbenrå Kunstmuseum. Malmø.' Kunstmuseum; Kastrupgårdsamlingen, Kobenhavn. Nordjyllands Kunstmuseum, Aalborg. Sonderjyllands Kunstmuseum, Tonder. California College of Arts and Crafts, San Francisco, USA. Den danske Ambassade, Washington, Berlin, Tokyo. Ny Carlsbergfonden. Statens Kunst-fond. Kobenhavns kommunes Kulturfond. Kunst på Arbejdspladsen. Odense Bys Kunstfond. Esbjerg Kunstforenings Samling. The National Gallery in Prague, Tjekkiet. Ane Struktura, Milano, Italien.
Udsmykninger og farvesætninger / Ornamentation and colour schemes:
Skattehuset, Odense. Synoptik, Nørrevold, København. Jyllands-
Postens Hovedafdeling i Viby / Arhus samt J.P Centrene i København.
Slagelse. Alborg, Århus, Herning og Åbenrå. Trapperum tor KTAS.
Festsal og hovedtrappe for Frederiksberg Tekniske Skole - Hovedstadens Malerskole.
Bibliografi / Bibliography:
Hrymfaxe nr. 2,1977 og nr. 1,1983, Jan Jensen. Politikens grafiske særtryk 1970-79. Bert. Engelstoft. 3-year Art Book. Dansk kunst
1984-87. Kunstnerleksi køn, AOFs forlag, 1985. Kastrupgårdsamlingen: Ole Folmer Hansen-maleri, grafik, skulptur 1962-87. Jefte Kjærboe og Peter Poulsen. Serigrafen 2-88. Den Flexibles jubilæums-skrift 1988, Jette Kjærboe. Homo Futurus 1989, Lise Seisbøll. Bogen om "Den gyldne orgeltone nordisk kunst" 1992, Alice Fanøe.
Bogoms/ag / Bookcover:
"Vigtigere end nogen sinde", Niels Brocks Handelsskole 1888-1988. "Et regnskab skal være retvisende", Ernst & Young 1992. "Håndbog for billedkunstnere" 1993.
Medlem af / Member of:
Kunstnersamfundet, Billedkunstnernes Forbund, Danske Grafikere.
COAST, "Den gyldne orgeltone i nordisk kunst".
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TEXT
"The first lines-the very rough sketch-the ideas come, committed to paper, many go no further. Others considered, changed, perhaps carried out as something quite different-the starting point still being that rough sketch. The color ideas already begin to crowd in. These will probably undergo several changes. Into pieces, interacting placement, distribution. Here the shapes take on different values. At the same time the composition falls into place, some shapes are adjusted to comply with the color values given".
In his painting, Ole Folmer Hansen works with singular shapes within a well-balanced interplay. The composition is clear and the figures evolve from the colored areas with their razor sharp edges. Rhythm is created by diagonals and horizontal/vertical lines that shoot through each other-shapes that change direction, stop short and re-emerge as improvisations on a theme. An attempt is made to reach the absolute. The point of origin is hard-edge painting with geometrical shapes: circles, squares, arrows. The circle´s round form supplies and softens the exacting segments of the pattern, but the most important figure is the arrow, and it is repeated in many of the artist´s works. It creates many associations- it can be directional, it can be aggressive, it can be positive, optimistic-yet it is always clear and handsome. The colors are strong and true. Often a few colors dominate, yet others complement, so that areas of kinetic energy are thus created.
"I have always enjoyed working with figures and colors, A pictorial unit must be systematized, so that the movement and tension created on the compositional surface involves and uplifts the viewer. For me, colors are indispensable. By observing the various light values of my colors, I attain control of my space. While working, I always listen to music. Thus, I come to work with the rhythmic presence inherent in each color and can achieve the tonal coordination that holds the colors together. In a way, each new color is born of its predecessor. There is a rhythmic elasticity without which the composition would fail. What music offers the ear, hard-edge art permits the eye to see".
The artist has quite often taken a special subject which he analyzes and works with until he feels, that his work process frees him sufficiently to retain his theme, yet find a new angle or viewpoint, face a new challenge-another color scheme. The Pompidou Center series, Greece or flag series. Still Ole Folmer Hansen feels there is much to discover, and totally involves his dynamic mind in order to vary and deepen new themes. "Some time ago I received a large, exciting book with pictures from China, a country which interests me greatly. For a while, I began making sketches in which I wove the shapes together as a unit until the picture stood clear and precise on the surface".
Emile Zola once defined art "as a corner of nature seen though a temperament". Ole Folmer Hansen´s work reveals that he is a person with the ability to concentrate endlessly and intensely, and in so doing, create the total compositional statement of variation, beauty and strength, while maintaining a careful balance.
MAG.ART. ALICE FANOE
Pure painting - composition and color work together- the value of singular shapes is determined by color and size - work together - against each other - allowing, harmony and/or tension.
The stimulation can be from a chosen idea- inspiration- for example a motif developed during the sketching stage can become a series where the shapes interchange values by color alteration, the same main theme but different secondary motifs- flags, months of the year, element composition where permanent units are combined, perhaps rotated, colors changed- Center Pompidou in Paris, Greece - a method of challenging oneself, choose projects- a concentration of experiences- converted to pure painting.
A shape often incorporated is the arrow - a delightful form- it can be varied and can achieve different values perhaps only hinted at or perhaps the main figure / shape - aggressive, overbearing- dictatorial, positive/optimistic, negative/pessimistic or again vulnerable/poetic- in all the relationships beautiful and simple.
OLE FOLMER HANSEN
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