Nina Edling - works

Wait Video, 4 min, 2011 The protagonist is behind the camera, and she (he) is desperately trying to catch up with the unknown hunter in front of her. This unsettling piece, where the border between hunter and prey is blurred, is my first video and was recorded in the forests of central Sweden.	Water Striders Video, 3 min unsync loop, 2 channel, 2012 Being an image that moves, the two screens collaborates with their differences in creating pensive metaphors, and is part of a larger project about home and wilderness, about the awkward relationship to nature of today.
Mental Capacities Wood cut, ca 200x150 cm, 2010 Experimenting with text and image, this piece requires you to step back to see the very large figures, but to come close to be able to read the small sentence cut out just underneath them. The figures have stories in their own right, but the text adds a layer of confusion and is the voice of the artist.	Killing Into Materials Video, 11 min, 2012 An ongoing cutting project that briefly follows a hunting team during the annual elk hunt in Sweden, with focus on the action of the hand and the sense of relaxed activity within the group, evoking questions about nature and interaction with it.
I Am Your Warrior Video, 3 min loop, 4 channel, 2011 A piece about the relationship between father and daughter, which contemplates the desperation to belong and to conform, which is ultimately never reached. The two lower screens shows two continuous actions; the loading of a rifle, and someone walking through deep snow. The image of the father is hovering above, and is rhythmically replaced with an empty landscape. He is saying something, but the only sound is the wind as recorded by the camera. There is a sense of waiting, of endless preparation, and of the lack of completion.	Sleepless Night Video, 2 min loop, 2011 A walk along a snowy, dark road, split into fragments and mixed with short sequences where the protagonist is extracting pens from the snow. This is a dream piece, quite unspecific and mystical, that speaks of solitude and secrets. There is a whole story untold.
The Slightly Changed Things Photo collage, mixed size, 2010 A potential triptych that has been shown in various sizes and settings. It is ultimately a lamentation, based on one's own indecision and hesitation.	Open Up Wood Cut, 2007 My first large scale wood cut. It is an excellent example of my inclination for theatrical composition and gestures.
The Gap Project Weaving, wood cut, 125x240x279, 240x20 cm, 2010 The Gap Project was made for my Bachelor of Fine Art Degree Show at KiT, Norway. It consists of two separate pieces placed facing each other in a gallery room. The large weaving - The Unavoidability of Something - was handmade by me, and laboriously put up on the wall and ceiling, and then painted with black colour to give a thick, plastic, and 'dead' texture to the very living material of the weave. The smaller wood cut - The Impossibility of Something - contains the measurements of the space beneath the weaving, and is montaged on a board and leaned to rest against the wall. It shows a light grey, obscure image, which is depicting tassels. This work is playing with the notion of the void and the nothingness of thought.	Vikten av / Downward Movements (Yielding) Wood cuts, 200x130 cm each, 2009 This gesture about gravity is based on my constant fascination with the close linking between the physical and the psychological.
The Line-up of Fools Soft-ground etchings, drawings, mixed sizes, 2010 This is a work of love, as it shows a variety of typical gestures and positions seen in my notes and sketches, composed to evoke a sense of dance and bodily responses.	Teaterrummet / Theatre Room Wood cut, 1130x120 cm, 2009 The 11m long wood cut Theatre Room was made specially for the Blunk Gallery in Trondheim, Norway. It is a play with shadows and the distance inherent in the five larger-than-life figures spread out across the small room. This piece has been modified and re-modified for different settings, to reach the ideal expression within each space.
Square & I Wood cut and weaving, 200x140 cm & 335x335 cm, 2008 This weave was my first, and the process behind it contains performative elements, as I simply brought a loom to the studio and learned how to weave in order to do this piece. The monumental square weave is impressive in itself, as it towers above any spectator, and I have been unable to document the special quality of the material, as it glimmers in the light and urges you to come close and experience it. It is coupled with a large wood cut of a crouching figure who is looking down at something.	The Best Image I Have Ever Made Drawing, tape, and acid on paper, ca 10x8 cm, 2010 I used this small drawing for a drawing exhibition, and it was placed very nicely on a large wall space, to be given the necessary potency and adoration.
Vi antar oss Wood cuts, 280x150 cm & 140x220 cm, 2008 The title is a word play in Swedish, containing both the meaning of an 'us' whom is transforming and taking on some kind of shape, as well as literally meaning 'we are supposing ourselves.' I was imagining the body as a landscape of a sort, and the surprisingly large scale and high position on the wall is demanding attention. The focus was on making the body into sculpture on paper, but also to dehumanise and re-animalise.	The Way It Ought To Go Gif animation, 2010 An early play with moving image, this short looped animation was conceived one drawing at the time, allowing a transformation based on the movements of drawing rather than the human physiology.
(Where Do I End Up?) Etchings, 2007 This triptych was originally shown together with a short self-made poem on the topic of confusion and anxiety. It was the first piece I made during my BFA studies, and was part of a course themed 'What I fear the most'.	Communication Wood cuts, 140x210 cm & 100x200 cm, 2009 Arranged opposite each other in a gallery room with two openings, these two wood cuts (one of them uncut) became a play with the room's energy, where the symmetry between them made the work.

© 2012 Nina Edling unless otherwise stated. You are welcome to copy these images as long as due credit is given.