Anne-Karin Furunes has developed her very own artistic technique. The linen canvases primed black or white, where anonymous portraits appear, are perforated. The white dots are in fact the colour of the wall behind the artwork, seen through the holes. Instead of being the surface on which the work is created, the canvas is turned into a kind of filter through which the image is seen.
Furunes’ punching of holes started as a problematic relation to the act of painting. Creating images by punching holes in–and thereby breaking–the canvas was the artist’s way of coming to terms with a suffocating, white, male, modernist tradition of painting. The work examines memory, both the collective and the personal. Anne-Karin Furunes gets her motives from private photo albums, archives or her own photos. The pictures always carry a history. Furunes takes a great interest in history and how it–just like memory–is in constant change and is illuminated or blacked out by the values and attitudes of the times.