Solo exhibition at SOFT galleri, Oslo.
May 22nd - August 3rd 2025
Photo: Vegard Kleven
The garden is a place where composition, intention, and structure meet wild and unruly nature. Through planned design and careful arrangement of flowers and plants, the garden flourishes as an aesthetic ordering of the uncontrollable. A garden plot in spring can be seen as an expression of the eternal return. Within the framework of order, the processes of nature are repeated, year after year – seemingly the same, yet always anew. Suddenly and explosively, the landscape transforms into an intense and brilliant flora of colour.
The combination of strategic preparation, meticulous sketching, chance, and, at times ruthless unpredictability is characteristic of the intricate processes behind Ingrid Lønningdal’s exhibition. At SOFT, she presents works from two new series – Plant Combinations and Garden – situated at the intersection of textile, sculpture, and painting. The exhibition marks a continuation of Lønningdal’s ongoing exploration of the relationship between architecture and textile. In her work, she examines the connections between materials, their use and function, aesthetic form, and colour – an investigation that is also articulated through linguistic dualities.
The series Plant Combinations, which also lends its name to the exhibition, has been produced using the dyeing method indigosol. Indigosol is a synthetic dye developed specifically for textiles. Historically, the indigo colour has its roots in the plant kingdom. As the name suggests, the natural dye was originally extracted from the plant Indigofera tinctoria. It was not until the early 20th century that indigo underwent an industrial transformation and was converted into a synthetic dye. Since then, a wide range of other colours have been developed in a similar way.
The process of working with indigosol colour is a balancing act between precision and intuition. Before the colour is applied to the textile, the pigments are prepared according to various recipes. These mixtures can produce a thin liquid that spreads freely across the fabric, or a thicker, gel-like consistency that allows for different application techniques. During the process, the colours are unrecognisable: blue appears brown or pink, grey seems black, and black appears green. The “true” colours develop and emerge only after the textiles are dipped in an acid bath. A single, microscopic misstep may yield completely different results than intended. Nevertheless, indigosol has been widely used and is still highly valued for its chromatic qualities. Lønningdal’s indigosol works present a broad spectrum of colourful compositions – ranging from soft pink and gentle blue hues to sharp yellows and opaque black.
In the Garden series, the soft, tactile surface has been replaced by hard, coarse mortar. The works are built up in layers using a combination of different construction materials – a wooden board forms the foundation, and a reinforcing fabric mesh serves as a strengthening link between the wood and the mortar. Here, the textile takes on a functional role – the reinforcing mesh reveals a structural connection to the many, and perhaps surprising, applications of textiles.
The indigosol works presented in the exhibition have been produced in close collaboration with Bente Sætrang at her workshop at Frysja kunstsenter. Sætrang has more than 50 years of experience with indigosol dyes, and she has generously shared her time and expertise. In 2023, Sætrang published the book Kokebok for indigosoler [Indigosol Cookbook] (ed. Nina M. Schjønsby), a collection drawn from her extensive archive, spanning five decades, including recipes, tests and notes. Lønningdal has contributed a chapter to this book.
Text by Ella Jahr Nygaard
Solo exhibition at Galleri Opdahl, Stavanger.
December 2nd 2022 - January 15th 2023
Photo: Bitmap / Markus Johansson
Text by Pernille Dybvig
Installation view, Galleri Opdahl, 2022.
Edges (Gartenstadt Falkenberg II), silicate paint on hessian, 210 x 92 cm, 2022.
Edges (Hufeiesensiedlung Britz II), silicate paint on hessian, 210 x 92 cm, 2022.
Installation view, Galleri Opdahl, 2022.
Installation view, Galleri Opdahl, 2022.
Edges (Gartenstadt Falkenberg IV), silicate paint on hessian, 210 x 92 cm, 2022.
Edges (Waldsiedlung Zehlendorf II), silicate paint on hessian, 210 x 92 cm, 2022.
Edges (Waldsiedlung Zehlendorf VIII), silicate paint on hessian, 210 x 92 cm, 2022.
Installation view, Galleri Opdahl, 2022.
Installation view, Galleri Opdahl, 2022.
Fibre Reinforcement (Ulvenveien 90), silicate paint on hessian, 260 x 125 cm, 2019
Fibre Reinforcement (Økernsenteret), silicate paint on hessian, 260 x 130 cm and Fibre Reinforcement (Stavanger stål), silicate paint on hessian, 260 x 105 cm, 2019
Fibre Reinforcement (AEG-Turbinenfabrik I-III), silicate paint on hessian, 260 x 120 cm, 260 x 115 cm, 260 x 115 cm, 2020
Installation view, Galleri Opdahl, 2022.
Edges (Waldsiedlung Zehlendorf II), silicate paint on hessian, 133 x 98 cm and Edges (Waldsiedlung Zehlendorf I), silicate paint on hessian, 133 x 96,5 cm, 2020
Installation view, Edges, Künstlerhaus Bethanien, 2020.
Installation view, Edges, Künstlerhaus Bethanien, 2020.
Fibre Reinforcement (AEG-Turbinen- fabrik I-III), hessian and silicate paint, each 260 x 130 cm, 2020.
Installation view, Edges, Künstlerhaus Bethanien, 2020.
Edges (Waldsiedlung Zehlendorf I), hessian and silicate paint, 133 x 98 cm, 2020.
Edges (Waldsiedlung Zehlendorf II), hessian and silicate paint, 133 x 98 cm, 2020.
Installation view, Edges, Künstlerhaus Bethanien, 2020.
Edges (Waldsiedlung Zehlendorf IV), hessian and silicate paint, 133 x 98 cm, 2020.
Edges (Waldsiedlung Zehlendorf III), hessian and silicate paint, 133 x 98 cm, 2020.
Installation view, Edges, Künstlerhaus Bethanien, 2020.
Installation view, Edges, Künstlerhaus Bethanien, 2020.
Installation view, Edges, Künstlerhaus Bethanien, 2020.
Installation view, Edges, Künstlerhaus Bethanien, 2020.
Installation view, Fibre Reinforcement, Kunstnerforbundet, 2019.
Installation view, Fibre Reinforcement, Kunstnerforbundet, 2019.
Installation view, Fibre Reinforcement, Kunstnerforbundet, 2019.
Installation view, Fibre Reinforcement, Kunstnerforbundet, 2019.
Solo presentation at Trøndelag senter for samtidskunst, Trondheim.
August 16th - September 10th 2017
Photo: Susanne Jamtøy
Untitled (Palm Springs ) I, hessian and silicate paint, 285 x 234 cm, 2014.
Untitled (Palm Springs) II, hessian and silicate paint, 285 x 234 cm, 2014.
Cladding, hessian, dimensions variable , 2017.
Cladding IX, dyed hessian, 200 x 68 cm, 2017.
Untitled (Palm Springs) II, hessian and silicate paint, 285 x 234 cm, 2014.
Næringsområde delt av Ring 3 (Industrial District Divided by Ring Road 3), screenprint, 2017.
Text by Nina Berre.
Solo presentation at Oslo Kunstforening.
March 9th - April 23rd 2017
Photo: Christina Leithe Hansen / Vegard Kleven
Cladding I-III, jute, 2017.
Beat (Stressed / Unstressed) VII, water colour and gouache on paper, 30,5 x 22,9 cm, 2016.
Sample Manipulations V, 35,6 x 28 cm, 2017.
Hjemmet og annen næring ved atelieret, screenprint, 102 x 70 cm, 2017.
Photo: Vegard Kleven
Installation view, Hamburg Kunstverein, 2010.
Architecture Unfolded in Time V, pencil and c-print on paper, 42 x 59,5 cm, 2010.
Architecture Unfolded in Time XIII, pencil, water colour and c-print on paper, 59,5 x 42 cm, 2010.
Architecture Unfolded in Time XII, pencil, water colour and c-print on paper, 42 x 59,5 cm, 2010.
Architecture Unfolded in Time VI, pencil and c-print on paper, 42 x 59,5 cm, 2010.
Architecture Unfolded in Time XVI, pencil, water colour and c-print on paper, 42 x 59,5 cm, 2010.
Architecture Unfolded in Time VII, pencil, tape and c-print on paper, 42 x 59,5 cm, 2010.
Architecture Unfolded in Time I, pencil on paper, 59,5 x 42 cm, 2010.
Architecture Unfolded in Time IV, pencil and c-print on paper, 59,5 x 42 cm, 2010.
Architecture Unfolded in Time VIII, pencil, tape on paper, 42 x 59,5 cm, 2010.
Architecture Unfolded in Time X, pencil, water colour and c-print on paper, 42 x 59,5 cm, 2010.
Architecture Unfolded in Time IX, pencil and c-print on paper, 59,5 x 42 cm, 2010.
Architecture Unfolded in Time III, tape, post-it note and c-print on paper, 42 x 59,5 cm, 2010.
Photo: Vegard Kleven / Carsten Aniksdal
Ruler, c-print and pencil on paper / water colour and pencil on paper, diptych, each part aprox. 35 x 57 cm, 2007.
Installation view, 2000 Lillestrøm, Akershus kunstsenter, 2010.
Ruler II, c-print, tape and pencil on paper / water colour and pencil on paper, diptych, 24 x 46 cm / 34,5 x 46 cm, 2007.
Compass, Protractor and Ruler, c-print, tape and pencil on paper / water colour and pencil on paper, diptych, 29,6 x 39,7 cm / 34 x 51,5 cm, 2010.
Ruler and Scissors, c-print, water colour and pencil on paper, 57 x 77 cm, 2009.
Compass, Protractor, Ruler and Scissors, c-print, water colour and drawing on paper, 57 x 77 cm, 2009.
Compass, Ruler and Scissors, c-print and drawing on paper, 57 x 77 cm, 2009.
Protractor, Ruler and Scissors, c-print, water colour and pencil on paper, 70 x 100 cm, 2009.
Ruler and Scissors II, c-print, water colour and pencil on paper, 65 x 110 cm, 2009.
Collaboration with Steffen Håndlykken.
Photo: Christina Leithe Hansen
Projections, fiber-reinforced and pigmented concrete, steel and silicate paint, 220 x 120 cm, 2015. With Steffen Håndlykken.
Projections, installation view, Art Belongs to Those Who See It, Vigeland-museet, Oslo, 2015.
Projections, installation view, Art Belongs to Those Who See It, Vigeland-museet, Oslo, 2015.
Projections, installation view, Art Belongs to Those Who See It, Vigeland-museet, Oslo, 2015.
Projections, installation view, Art Belongs to Those Who See It, Vigeland-museet, Oslo, 2015.
Projections, installation view, Art Belongs to Those Who See It, Vigeland-museet, Oslo, 2015.
Projections, installation view, Art Belongs to Those Who See It, Vigeland-museet, Oslo, 2015.
Solo presentation at Nordnorsk kunstnersenter, Svolvær.
March 21st - April 28th 2013
Photo: Kjell Ove Storvik
Red, Yellow and Blue, water colour on wall, 200 x 200 cm, 2013.
Dynea (Lillestrøm), c-print mounted on aluminium, 50 x 75 cm, 2013.
Magnavox (Torrance), c-print mounted on aluminium, 50 x 75 cm, 2013.
Study (Office Building for Bethlehem Pacific Steel Corporation), pencil on paper, 32 x 25 cm, 2013.
Study (Glendale First Methodist Church), pencil on paper, 32 x 25 cm, 2012.
Study (Coston Residence), pencil on paper, 32 x 25 cm, 2012.
Study (Gibraltar Savings Bank), pencil and water colour on paper, 32 x 25 cm, 2012.
