Calina Pandele Yttredal lives and works in Oslo, Norway.
She started her art studies at the School of Fine Arts in Bucharest at the age of eleven. Further she attended practical and theoretical courses at the College of Fine Arts and finally she became a student at the National Academy of Fine Arts in Bucharest, department of engraving, lithography, graphic design and illustration.
In 1977 she moved to Norway and settled down in Oslo. Same year she continued to study engraving techniques at The National College of Art and Design in Oslo and the year after she became a student at The National Academy of Fine Arts in Oslo, departments of color/painting and integrated art and architecture.
Already during her first year in Oslo she was recognized as a professional artist in the Norwegian visual art milieu by being accepted as a participant at the Annual State Autumn Exhibition. Since then she participated at a great number of national exhibitions and other group exhibitions and had a several one woman shows, both in Norway and abroad.
Calina Pandele Yttredal chooses both techniques and the materials depending on the content of her work.
Her artistical production encompasses therefore a wide range of techniques, sizes and materials as: oil, acrylic, oilpastel, watercolor, coal, pencil, pastel.
On her many journeys as in Europe, U.S.A. and Africa she explores both nature and culture. She catches the colors and the spirit of the places through representational sketches. Sketches are important to her both as documents and as raw material for further work, either they represent notes from distant places or events from the daily life at home. Some of the sketches can stay as they are, while others are developed into more complex meanings, expressed through a more abstract visual language.
The project «Cycle» is an example of how thoughts and ideas have been materialized out of a synthesis of sketches produced during a period of ten years. In these paintings she uses transparent media and iridescent colors in order to convey more subtle meanings into her works. The colors change according to the spectator’s movement, as if they possesses optical dynamics. «cycle» is treated in a separate section in this site.
Calina Pandele Yttredal has also been rendered commissions as: scenography, illustrations for publishing houses, portrait paintings and -drawings and other commissions for public art. She has a long teaching activity on color/light, painting, drawing, art history and anatomy at among others The National Academy of Fine Arts, The National College of Art and Design, Oslo College, Nordic Institute for stage and studio, all in Oslo. She has been adviser and participant in the educational program «Draw and paint» for the Norwegian Broadcasting, N.R.K. and lectured among others on color and light for The National Theater and The Norwegian Theater, Oslo.She wrote teaching books on color published in 1998 and 2000 by Gyldendal publishing house.
Her work is acquired by several public institutions. She has received a number of study-, work- and travel grants from the Norwegian State Fund for Artists, Visual Artists Aid Fund, The Norwegian Government and Norwegian Ministry of Foreign Affairs since 1978 and lately from the Fund of Norwegian Non-fiction Writers. She is a member of The Association of Norwegian and Romanian Visual Artists, Association of Non-fiction Norwegian Writers and the Association of Norwegian Academical Researchers.
SOME THOUGHTS ON CALINA PANDELE YTTREDAL’S RECENT PAINTINGS
From time to time we hear that painting is dead. Being a painter is a meaningless act as the paintings are of no meaning or function whatsoever. Personally I do not believe in either of these. «Cycle» is the title of Calina Pandele Yttredal’s recent works, and they reveal that painting is both meaningful and functional.
Depending on the content of the work, she chooses the technique and the material. She uses transparent media and iridescent colors in order to convey more subtle meanings into her work. The colors change according to the spectator’s movement, as if they posses optical dynamics.
In several of her works the space is not distinctly defined. A canvas showing a drop-shape (Mesopotamia). It is difficult to say whether this shape is big or small; whether it is signifying micro-or macrocosm. We are confronting a painting where the linear perspective is absent. Rather, in cases like these, the paintings possess stratas inviting the spectator’s gaze far beyond the surface.
The paintings contrast with each other, as there are contrasts within them. It is of importance to Yttredal making this happen, as it is a way of presenting certain problems of her interest.
How are we to interpret a painting showing a figure on a pedestal, in what we may see a nave? What about the Space-Shuttle (Quo Vadis?) on a launching pad?
The Space-Shuttle tells us something about man’s ability to expand. The name says a lot; Space-Shuttle. When will we be doing regular travels between the Earth and Moon?
Religion and science. In school we are taught that God created the Earth in seven days. We are also being taught that our universe once began with the Big Bang. To a certain extent, both views represents dogmas, but which of them are we to believe in?
In Calina Pandele Yttredal’s paintings there is a constant movement between oppositions; close vs. distant; microcosm vs. macrocosm; faith vs. reason. Nature vs. culture. She poses the questions and we must act.