Romsås Tower Art Fair 2026

Renna

Swings

Daniel Peder Askeland

Speilbildet

Alfred Brekke Brekke

Waterfall Drawing (5)

Janicke Schønning

Portrett av Stein

Kaja Solgaard Dahl

And Flowers, Always Flowers #5

Love Terins

I as an other

Pearla Pigao

Copies on a stroll #16

Stene, Maiken

Do you really Want to Hurt me

Kiyoshi Yamamoto 

Skitten syrin

Maria Brinch

To All My Lovers With Escape Plans

Tsolis, Yola Maria

Mellom

Nicolay Aamodt

Untitled (Warhol)

Nicolaisen, Terje

SOLARIS

Bjørn Bjarre

Chronicles (Copenhagen)

Bjørn Båsen

Over 30 of the artists from the building are taking part, and every work is priced at 5,000 NOK or less.

GalleryLab x Atelie

Elevate your workspace with curated art 

Art at Work

Sammen med Atelie og Funder Art har NPRO gjort kunst til en sentral del av dette konseptet – både som en visuell opplevelse i lokalene og som en mulighet for leietakere til å bruke kunst som en aktiv ressurs i arbeidshverdagen.

Norwegian Property - Kunst i arbeidsmiljøet

Case study

Del av serien "Isolation-Connection"
Tegning på Canson 300g papir
Festet på en mindre arkitektpapp-plate for flytende innramming 

I-C#35

METROPOLIS 02

plexitrykk,  trykket på hahnemuhle 300 grams grafikkpapir.

Utsikten mot baksiden fra det store røde huset 

Porcelain sculpture, 3d printed fired and glazed

Base

Rognebærknopp

Bohüslän sunset

High-Rise

ScarsAndTargets

Uten tittel

Filler, oak panel

The title means Italian strike [white strike]. It is a job action when you do the minimum required work and follow any time-consuming rule that is usually not enforced. The work is done by pushing small pebbles found outside my studio through the wet filler with a scrape.

This work is part of a small series titled Resistance. They recall different work-related ways of protesting against difficult working conditions. But they also reflect a more general discontent with capitalist ideology and a refusal to be a productive member of the consumerist society.

In Swedish, there is an expression of throwing pebbles into the machine [kasta grus i maskineriet], which means sabotaging something by being difficult or introducing complications. We are all pushed along by the relentless machinery of capitalism, but by not complying with every command and pressing our heels in the dirt, we can at least produce some discernible traces. Ultimately, it might slow it down or create a possibility for change.

#459 Sciopero Bianco

XX-09

Håndtuftet broderi i lys treramme
med nål og garn
2022

Fosil

Mr. nice guy 6

Sleep 

Blikk

Paper Cuts

Blue girl

Burst

UNIKA - Håndkolorert litografi trykket på 300g Somerset Satin hos Fredriksens Grafikk i Kristiansand. Kantene er revet inntil motivet (ikke hvit papirkant rundt).

Størrelse: 84x63,5

Inspirasjonen til litografiet fikk jeg ved dammen utenfor atelieret mitt i Bærum. Der sitter jeg på en benk og ser over til trærne på Oslo-siden av dammen, som speiler seg i vannet. Borrene, med sine kulerunde hoder, tegner seg tydelig mot vannet ved bredden på ‘min’ side.

Ro meg over I, håndkolorert særtrykk litografi

The One Not Quite Knowing

Wax cloth book with perforations (handbound).  Includes stamped tag and extra-large bulldog clip for hanging.  From a series of 10 unique books.

Little Skies (drifting)

Kvite dråper

Redd for antropocen II

In memory of the last signal

Being a passionate sculptor, I always carry a sketchbook in my pocket, in which I outline small objects. I gave them the abstract but euphonic name Rugla Swepum. I used thirty-five of the scribblings from this collection, scaled them up on aluminum boards and then painted them out with thick, bright-colored varnish.
The first thing viewers often notice in the work of Rugla Swepum are the bright colors. But if you look more closely, the details of the artwork begin to emerge. Lines, constructions, shapes and figures. Beautiful and stylish, chaotic, abstract and yet somehow still familiar. Flowing lines, radical forms, brutal cuts, breaks and fragments all come together to ultimately stir up a question within the viewer: What is this? What am I actually seeing here? Is it a face? A spaceship? A dancer? Or is this a mountain—maybe the Alps?
I created the paintings of Rugla Swepum in the everyday movements of life. The inspiration behind them weren’t just gathered out of thin air, they were dug up from the depths of the soil of life. Over the past few years, I’ve scribbled in my sketchbook, gone through creative processes and worked hard. Yet along the way, I also made new friends and solved problems. I jumped into a river with a backflip, I endured crises, and I fell in love. I felt the depths of despair and I found courage again. I doubted. I trusted. I arrived. I broke up and started over again.
Life can be a chaotic series of experiences. One moment you can follow happiness that runs like a golden thread through the carpet of life, and the next moment something pulls the carpet out from underneath you and leaves you in pain. How is it these extremes can fit together?
I believe we find beauty in life the more we are able to see and enjoy the whole picture—extremes and everything between. My hope is that viewers will see the various works in Rugla Swepum as an opportunity to examine their own lives. In the paintings, elements intertwine, occasionally squeezing themselves in and cutting structures apart. Layer lines up with layer. Color sets itself apart from color. A new form arises, a new contrast, a shape made of fragments. Together they all add up. Together it is not round, not whole, not simple. It is more than that—it is complete. In life, some things simply cannot be intertwined. They remain paradoxical, broken, unconnected, next to each other ... and yet when viewed altogether, they are still whole.


Rugla Swepum

Performed in vocal fry and uptalk #5

"Perspektiv"   II

Amorphous Specks #ll

Liten serie monotrykk laget til en utstilling som fikk navnet "Vendepunktet"

Vendepunktet

Originalt oljemaleri 
Selve maleriet måler 5,5 x 8 cm malt på 10 x 15 cm syrefritt papir (140 gsm cartridge paper)

Selges uten ramme, bildet med ramme er ment som et forslag til hvordan det kan rammes inn. 

Minimaleri #32 

30.08.2024 - 5

Creating an abstract landscape on paper is much like telling a story through steep cliffs and rushing water. The tale of majestic mountains and friendly slopes are told by dry pigments rubbed into cotton paper until the whole surface is filled with colourful pigments that‘s creating images of recognisable shapes and places remembered. But its more than that, its a tale of life itself; It’s a soulscape and a reflection on human emotions.

I like to revisit a specific place in my mind, translating the atmosphere it into a lyrical landscape with the use of colour. The abstraction allows me to incorporate the whole experience; incorporating the scent of warm earth, the sound of running water and  whispers of wind. The landscape is dissolved and translated it into a colour mood and in this matter given a closeness to the soul. 

This artwork is made with soft pastels and has a fine layer of fixative as finishing coat. It has a delicate surface and needs the protection of glass. It ships flat in a box.

Steep hills and shallow dales 1

Selvkontroll I

Medium Airbrush, jord,spiker på 300 g/m papir

Bills Bills Bills 

Tresnitt. Grå variant. Trykket på hahnemuhle 150 grams grafikkpapir
Målene angir størrelsen på trykkplata. Trykket i opplag på 7. Varianter finnes i andre farger.

Serigraphy, 1/1 (unique)
Canson Edition 250 gr paper
Signed label on the reverse
This piece is framed and ready, including a custom-made oak frame and UV-protective glass

Amped (#52)

skala 1:476, fasade nord - vest/ syd - vest + snitt, silketrykk, opplag 40, kalke papir, kunstverket er uten ramme
photo credit Aliona Pazdniakova

The Red List of Threatened Species / Y - Block (Aedificium horizontalis norvegica), Oslo.

akryl, olje, våtromsgrunn og glassfiber på linlerret

Landskaplig firkant

To-farget etsing, trykket på 300gr Hanemulle papir. (papirstørrelse 25x30 cm). 

Ta tyren ved hornene

Description: 
A series of functional ceramic sculptures inspired by the top-bar beehive honeycomb. Details include pollen and honey filled chambers, cells housing drones or a queen, brightly fresh or time darkened wax. Previously shown at MAN FALLS - PREPARATIONS FOR A WAKE, at Exgirlfriend Gallery in Berlin, and MAN FALLS - A WAKE, at Khartoum Contemporary Art Center, Oslo.

Materials: 
Steel, resin, glazed clay

Please note, some of the openers are sculpted for left- and some are sculpted for right-handed people.
Dimensions are approximate.

Case study

Discover and buy art from 1 052 professional artists from Norway and abroad.

Interactive Map

GalleryLab x Atelie

Art at Work

Case study

Discover and buy art from 1 052 professional artists from Norway and abroad.

Romsås Tower Art Fair 2026

Artworks in our gallery

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