Jeg står i såret

Jeg står i såret
rød oker
såret stråler

Skrape i skorpa
grave, flerre
husker tidslagene
hvor Gud er?

Den dypeste riften
er den som vokser
langs et omriss
erosjonens bass

Jeg åpner såret
og ser rett inn i
verdens begynnelse:
lavendel blå

Er det jordas jobb
å gi oss en plan?
vi står alle i brent umbra
utbrent jordsmonn

Balanserer på kanten
aner avgrunnen
smaragdgrønn
som et arr

Hør! forvitringens fløyte
tonene er safrangule
karminrøde, rundt oss:
tektoniske hymner
alle dagers dagbrudd

I Stand in the Wound

I stand in the wound
it is shining
red ocher

Scraping the scab
scour and delve
can anyone recall
where God is?

The most abyssal fault
opens along a contour
at the very limit
of erosion’s infrasound

I open the wound
and look straight down
into the origin of the world:
a lavender blue

Is it among the duties of the earth
to give us a way through?
we are all standing in burnt umber
on burnt ground

Blindly at an edge
sensing an abyss
emerald green
like a vein is

Listen to the chiming in the crumbling
its tones are saffron
its crimson all around
its tectonic anthem
all the daybreaks of the days

–

Written by Aina Villanger

Translation by Gabriel Gudding

Ann Iren Buan (b. 1984) lives and works in Oslo. In her practice, Buan explores the notions of decay and destruction through drawing and sculpture. Monumental, fragile, and haptic, her work investigates the materiality of drawing through a three-dimensional sculptural expression. Her sculptures appear to be in a continuous state of ruination, a fact further reinforced by her choice of fragile and vulnerable materials. Seemingly on the brink of collapse, the works insist on a continued existence and are often used as elements in new artworks in a cycle of decay and renewal.

Acts of care are often preceded by acts of violence. For her exhibition ‘Hudsult’ at OSL contemporary, Buan has applied a technique where she first weakens the paper by soaking it in water, before proceeding to rub and scratch the paper’s surface. This disrupts the material’s fibres, creating an open wound; a vulnerable surface that exposes the fragility of the paper. Following this destructive act, she tends to the wounds, covering them with dry pastel drawings, in clear and distinct hues of colour. For the artist, the colour itself is charged with emotions and qualities: they might be blustery, dry, or sorrowful, always stating a temper that evokes a certain set of emotions.

Buan’s works are distinctly human; raw and rough, delicate and sensual. Her drawings remind us of the fragile chaos of our existence.

Ann Iren Buan holds an MFA in Visual Art from The Academy of Fine Arts, Oslo (2011). Previous solo exhibitions include The Vigeland Museum (2018) and OSL contemporary, Oslo (2021, 2018); Kristiansand Kunsthall, Kristiansand (2021); Apalazzo gallery, Brescia (2019). Buan has participated in a number of group shows including the Drawing Triennial hosted by The Norwegian Drawing Association at Kunstnernes Hus (2019); Trondheim Kunsthall, Trondheim (2019); Palazzo Mazzarino, Palermo (2018); Stavanger Art Museum, Stavanger (2015); and The Astrup Fearnley Museum, Oslo (2015). In 2024, she will be presenting solo exhibitions at Kunstnerforbundet, Oslo and Museum for Papirkunst, Blokhus.

Her works are part of several public and private collections, including the National Museum, Oslo and the Norwegian Parliament Art Collection.

Aina Villanger (b. 1979) is a poet and playwright. Debuted as a poet in 2012, he will publish his fifth book in May 2024 entitled ‘Begynnelsen er nær’ (Oktober publishing house).