One of her paintings can be seen in the light of some of what is outlined in the text above. "The Green Agenda" has a square shape and is characterized by a repetitive pattern, an "all-over pattern" which, among other things, characterizes some late modernist painting. This pattern consists of several layers, the "grid" construction creates a spatial effect. But the homogeneous impression is broken by a smaller field, also square, which emerges from the underlying pattern, while the green shape that dominates this field is partly seen below and through it. This creates a tension between surface and space. Incidentally, we also see how variations in the pattern, such as the vertical lines, break up the uniform impression and create an inner dynamic. The picture is painted in clear, pure colours, the artist plays on the contrasts of the basic colours, the result is a decorative touch, which both refers to pop art's "neon colours" and to more everyday decor, such as textile patterns. The artist himself refers to such "cultural patterns" as sources of inspiration. The picture is painted on canvas that is covered with plexiglass. It is in the small field that we first become aware of the small round "knobs" or elevations on the plexiglass. They draw attention to the surface, seem inviting to touch.

Braille, or braille, is for most of us sighted alien and unapproachable as a language, it can appear to us as abstract patterns. As a visual element, it can remind us of similar effects or tools we know from several decades of art history, not least from the serial structures of minimalism. But here the artist obviously also plays on the tactile, the encounter with the artwork becomes a phenomenological approach, where the outer and the inner, the visual and the material, play together. This interaction refers both to the complexity of the visual impressions we constantly receive, and to communication in general. This problematic characterizes much of our contemporary art, but appears in an original way in Ingerlill Arvei Yngling's paintings. When she uses Braille as a visual tool, she puts her finger (almost literally) on a core point: When signs are "detached" from their original context and context, they can seem alienating, but also create new "meaning".

The liberation of this sign has characterized contemporary culture for quite some time, we like to link it to the so-called postmodern era, where previously established structures are broken, and culture is "read" as a text. This freedom can invite an arbitrary play with both words and images. But in all good art, this play is serious, it is capable of visualizing how vulnerable and vulnerable forms of interpersonal communication are. At the same time, the strength of the visual language and endless possibilities for an alternative understanding and experience of everyday experiences are shown.

Ingerlill Arvei Yngling creates paintings that are "aware" of their own creation and history. In the combination of familiar formal structures and the viewer's possibilities for different readings and sensory impressions, the painting's capacity for renewal is illustrated.

Margaret Reykdal

Visual artist and art historian