Depth Charge – Noah Alveberg
John K. Grande

Noah Alveberg’s works are an out of body experience. As he says. “The light is in the roots, and the light is in the earth.”  He builds inter-textual narratives using visuals he gathers and hunts in remote regions such as glaciers, shorelines, in nature. He grows the art organically. The process is one of accumulation, modification, adaptation. All this exists as layers in a process that include animal, human and natural forms… To experience a particular artwork is to enter into a microcosm where gigantesque, mythical elements are at the point of appearance or disappearance. Like an opera where images dance and voices resonate for a while, these tableaux are worthy of a new era. These narratives on survival are full of signifiers adapted for the anthropocene. This forest of signs is no longer semantic. The signifiers are visual… The sense is of a formative universe, where image and occasional text fragments are like voices to merge into a resonance, a tonality. The spatial scale is either operatic, or nomadic, recalls incidents from the ecosystem like a hunter gatherer would. There is no certainty here. The black cloth covers our mirror, our signifiers, and points of reference, and still we build meanings out of the inner and outer referents…

Using very fine Zeolite ash from a volcanic site in Denmark, chalk, watercolour, tar, shellac, Alveberg layers, marks, like a metaphysician or alchemist, but all this to make the visual experience incomplete, unfinished, a challenge both visually and metaphorically… Alveberg’s consciousness  is standing next to all this, to the storms on the ocean, hangs in ice glaciers crevasses, or moves through the forest depths. He  charges the depths of this world with signifiers ever so slowly, they are retro-flections, re-fractions, all with a life of their own. They change over time as the additions, the removals, from far to near, evolve to build a story, or part of a story, or disappear forever… We become active interpreters, reifying a connectivity to this world we live on and in…. Collecting these themes in clearings amid our unconscious we sense a mythopoetic figuration amid these fields of absence and presence… She-wolves, tree conductors, lines of life like light, involute, close to geomorphological - the sense is of a tissue - something living, inanimate and animate together… Red clays recall the earth mother, and the skies the heavens… the interweave, interlace, is of tissue, like body, animal or human elements. There are no answers as to the mysterious intertwining of life and non-life… Time moves forward, time moves backwards. This tunnel of images in a digital age travels through the eye of permaculture. The artist is the medium. It’s in the eye of the beholder, or is it Odin’s eye down in some preternatural well of being, a discarded and forgotten relic? It could be the well of Mime… the place where all memories reside… And so Alveberg is an archaeologist pulling artefacts instantaneously. All this alterity recalls the way stories are told, by word of mouth, and images pour in and out of time. 

These remarkable new works build organic links between any matter of things, all this to say in the anthropocene, this era of climate change, where history itself is challenged, our signifiers, like shape shifters are in a state of rebirth, as nature rears its monstrous head, to remind us we are not at all in control of our universe, exist in temporal states…

Noah Alveberg pours experience out of so many urns. He drags the dragons and wolves out of Pagan times into this eternal light. In the earth we can breathe, inside time is born - Yggdrasil’s tree - and we stand, sit or walk through all this formative bio-matter, in a world between life and death. All this, like the skeleton in so many of Edvard Munch’s paintings, like the skeleton in the tree, almost hidden but always there, in his painting Two Women under the Tree (1919), Alveberg’s recent multimedia artworks exist in a place of reflection, between subject and object, where time and belief is suspended … we breathe and we breathe and we breathe.… 

In this place of recognition, after the ends end, and where the beginnings begin, there are near invisible explosions, the depth charges are ancestral signifiers that awaken us to our humble place in eternity, of which this place, these contemporary paintings are a part… And nature is everywhere, a part of the art, nature will be the art we are a part of… We are the agents of some alternate being. The soul is magnified, or minimized… We are not alone. A greater subject is at a point in form - forming. The object disappears, and the subject does too… It’s an ongoing riddle we can’t recognize in its totality, but see in its tonality - partially. All this interconnectedness, the near photogenic detailing, breathes life in the non-spaces of our being, places that have never existed, but have always been.

We look ahead. We travel forwards. We explore. And then we go home. This boat of life is full of characters, full of life. It has no borders, on sea or land. Full of experience, this vision lives in the recombinative fragments of  - part of - everything!




BA fine art, Central Saint Martins, London 2009-2012                                                                            

Gjengangere: Psyche ist ausgedehnt, weiss nichts davon. Galleri A-minor, Oslo 2015
DESCENT. Galleri-A, Oslo 2010


Syndere i sommersol - kollektiv sommerutstilling. Fineart, Oslo 2018

A laget UTVALG sommer. Galleri-A, Oslo 2018

A laget UTVALG jul. Galleri-A, Oslo 2017 
A laget UTVALG julen. Galleri-A, Oslo 2012 

Finearts juleutstilling. Fineart, Oslo 2012
A laget UTVALG julen. Galleri-A, Oslo 2011 

Finearts juleutstilling. Fineart, Oslo 2011
A laget UTVALG sommer. Galleri-A, Oslo 2011 

A laget UTVALG vinter. Galleri-A, Oslo 2010
A laget UTVALG sommer. Galleri-A, Oslo 2010 

A laget UTVALG. Galleri-A, Oslo 2009
Galleri Nordstrand. Oslo 2008


Swedbank FIRST securities 2010

NHO Confederation of Norwegian Enterprise 2009

Norwegian Knowledge Centre for the Health Services 2009

Isurvey offshore surveyors 2008