In the summer of two-thousand six, I saw a detail of the painting, Flock, by the contemporary Norwegian painter, Odd Nerdrum, featured on the cover of Image, a journal of art, faith, mystery, published by The Center for Religious Humanism at Seattle Pacific University. The sight was arresting and memorable.
A cluster of naked male figures, crowned with thorns and wearing startled faces occupy a stark russet and black landscape. Several of the figures wear mantles, animal skins tossed loosely over their shoulders and draped down their backs. Inside the journal, Matthew Ballou, in his essay, Second Horizon The Changing Vision of Odd Nerdrum, cites the artist’s use of the mantle as one indicator that Nerdrum is developing a more spiritual and hopeful world view.
I’ve been thinking about Nerdrum’s work again since I attended the Senior Dance Concert at St. Olaf College in December. The performance choreographed by Meg Kirchhoff and titled, Seek, reminded me of a Nerdrum painting.
Kirchhoff’s work began in the dark and in silence; it took on form and sound slowly. The simple white clothing of the dancers, reminiscent of Nerdrum. The performers reflected a Nerdrum-like pink cast. A seeker is, by definition, looking for something. Lack, if not loss, is implied.
Kirchhoff relied heavily on the words, alone together, in her written description of purpose. According to Ballou, “Throughout most of Nerdrum’s career, critics have found in his work a sense of alienation, futility, and loss…”
I was right to remember Odd Nerdrum while watching Kirchoff’s work. I was happy to be so effectively reminded of one visual artist by another, working in what I would have considered to be a completely different genre.