EXHIBITIONS

 

 

2015 Aalesund Kunstforening solo exhibit storsalen

2014 Høstutstillingen ABK group exhibit Asker

2014 Art Launch at the NYC -JC Suites New York

2014 Gallery Elsa solo exhibit Namsos Trondheim

2014 LATE SUMMER group exhibit Pikene bed broen Heggedal

2014 ART EXPO New York exhibit www.artexponewyork.com

2013 Boklansering MOR September/okt  2013 www.juritzen.no

2013 Galleri SG Trondheim Feiring av stemmerett, likestilling, representasjon og deltakelse

2013 Det Nationalhistoriske Museum på Frederiksborg Slott i 2013 4. mai - 28. juli.www.dnm.dk

2013  BLOOD, MILK & HONEY 22. juni - 28. juli 2013  www.galleribjork.no

2013 Exhibit LONDON in May 2013 The Greatest Show On Earth: The Northern Lights

2012 GALLERI A - A -laget sommer 2012
2012 FINE ART Tjuvholmen Summer group exhibit

2012 The Year of the Dragon kuratert exhibit ABK

2012 Verdens Ende Kunstforening BLOOD, MILK & HONEY

2011 Young Art for a Good Cause Scandic Vulkan Oslo Norway

2011 Gallery FINE ART Tjuvholmen "after work" event BLOOD, MILK & HONEY Oslo Norway

2011 Galleri A group exhibit BLOOD, MILK & HONEY Oslo Norway

2011 Norstrand Lions Juleutstilling Oslo Norway

2010 ART ARENA Telenor arena Bærum Norway

2010 Høstutstillingen "Norges kunstner dal" Asker Norway

2010 Gallery Plysen solo exhibit STRYN Norway

2010 Åsgårdstrand Gallery "Erkjennelsen av Munch i meg" Norway
2010 FINE ART presentation/gallery in KUNST magazine
2010 Asker Kunstforening solo Exhibit Asker Norway
2008 Norstrand Lions Juleutstilling Oslo Norway
2009 Galleri A solo Exhibit Oslo Norway
2008 Galleri A "A-laget "UTVALG 2008" Norway
2008 Norstrand Lions Juleutstilling Oslo Norway
2008 Wellheeled Spa Décor/solo Exhibit San Diego USA
2008 Galleri A "A-laget "UTVALG 2008" Norway
2007 Bærum Kunstforening "De unge lovende" Norway
2007 Lilleaker Lions Exhibit Bærum Norway
2007 Bærum Kunstforening "De unge lovende" Norway
2007 Norstrand Lions Oslo Norway
2007 Galleri Tjømes Kunstsalong  Oslo Norway
2007 Cartagena - Lysaker Dock Norway
2007 Galleri A "A laget -07" Oslo Norway 2006 Agora Gallery "Pathway to Reverie" New York USA
2006 Art Mine, USA
2006 Cartagena - Lysaker Dock Norway
2006 Grønn - Lilleaker Norway
2006 M&M "Wind" - Vollen Norway
2006 Atelier M - "Grand Opening" Asker  Norway


 

 

Medlem av NBK, LNM, Grafill, Asker kunstforening, Bærum kunstforening, DOGA

 

EDUCATION / WORK

 

2006-07         Founded Atelier M - Studio/Gallery - Asker Norway

2000-01         Studio painting - Spain

1999-00         (MA) Hovedfag The Oslo National Academy of the Arts (SHKS)

1996-99         (MA) IVK The Oslo National Academy of the Arts - Norway

1995-96         Academy of Art College - San Fransisco - USA

1993-95         Art Director Orkan Advertising agency - Norway

1992-93         (BA ) Westerdals College of Commercial Art  - Norway

1990-91         Nesbru High School Art - Diploma/Artium Norway

1989-90         Advanced Studio Art/High school - USA

1987-89         Art dep /Nesbru High school - Nesbru Norway

 

 

ART REVIEWS

 

ArtisSpectrum New York vol.16 - Magazine page 6 & 7

 

"Pathway to Reverie" Press Release New York Royal

Norwegian Consulate www.norway.org

 

Gallery&Studio - The World of the Working Artist vol.9 2007 New York

 

"Pathway to Reverie" Agora Gallery Press Release New York

 

www.artmine.com (Helgesen)
 

"Offshore Shipping in New York Exhibition"

http://www.topix.net/forum/city/north-sea-ny/

 

"Kø i New York for Mias bilder"

 

"Fra Asker til Manhatten" New York bilag

Dagbladet 2006

 

 

Art CLIENTS/Illustration/Design

Asker Kommune Vendla Barnehage - UP SOURCE  Oslo - Norges Diabetesforbund

Oslo - Ekebergparken Barnehage Bærum Kommune - Kid Norge - Barnas Hus/Fru Lyng

Oslo - Trygg Trafikk - Ramsalt Asker- Damm forlag  Oslo - TV Vestfold  Tønsberg -
Protid DOGA Oslo - Offshore PG as- EMGS as - Hydraslip  AS Oslo/London etc

 

 

Memory in the Abstract by Maureen Flynn

GALLERY&STUDIO Magazine vol.9

New York 2007

 

When Willem de Kooning once spoke of "slippery glimpses", he was not so

much referring to the search for the ineffable in the art but, rather, of

the subtle revelations that come about at the twist of a wrist in the

process of painting, the mysteries of technique. Surly Mia Gjerdrum

Helgesen, a painter widely exhibited in Norway as well as the United

States, must know what he meant.She speaks of finding "the strenth to kill

your darlings", by which she means "not being satisfied with what you did

yesterday, but always stretching further," her approach is characterized

by a  unique panache which enables her to catch fleeting impressions that

slip effortlessly between  the actual and the abstract.

"I am inspired by the changing seasons in Norway, the feeling of blooming

summer, the birth of spring and the cold snow falling on my face," she

states, yet the way in which she makes these subtle responses to nature

and personal feelings palpable in acrylics on canvas, wood or linen has

everything to do with process. Shimmering visions of an idyllic childhood

with specific memories of outings in a family sailboat, of flowing waves

along the Norwegian coast and other fondly remembered details inform her

strokes. Yet her compositions take on abstract autonomy all their own, as

she layers luminous hues - translucent blues, greens, and yellows

heightened by strident bursts of red - in a manner that evokes an overall

sense of emotional exuberance rather than specific appearances.

 

While one can indeed discern "slippery glimpses" of a tree or a reflective

body of water or any

number of things amid her abstract forms, these things have a way of

disappearing back into the overall thrust of the composition almost as

quickly as they appear.  Phantom presences at best,  they inhabit the

comosition like fugitive memories, subtexts to the sense of immediacy that

Helgesen generates through her dazzling painterly proficiency.

Experience, in other words, seems embedded in the material substance of

pigment, rather than merely being illustrated. The effectiveness of her

compositions has much to do with her method of color construction, which

seems to meld an underlying organizational principle adopted from Cubism

with the emotional charge of Expressionism in a highly harmonious

synthesis.

 

 

Sitat:

” The paintings have a very dreamy quality as if you are remembering a

place or a thing. All of the paintings express a unique and innovative

perspective through the skilful use of form and compositional aesthetics.

With textures of abstract space and surfaces, the work in nuanced with

mood, emotion and atmosphere.”

 

Angelo Di Bello,

Director of Agora Gallery.

 

 

Sitat:

” The paintings have a very dreamy quality as if you are remembering a

place or a thing. All of the paintings express a unique and innovative perspective through the skilful use of form and compositional aesthetics. With textures of abstract space and surfaces, the work in nuanced with mood, emotion and atmosphere.”

 

Angelo Di Bello,

Director of Agora Gallery.

 

 

Sitat:

”Å jobbe energisk og røft med palett kniven lag på lag lar meg også skape og bygge

 opp et bilde som har flere lag av opplevelser, inntrykk og mening. Det er det som er

gleden å også kunne oppleve at mottakeren også over tid kan oppleve bildet litt forskjellig hver gang de vier maleriet oppmerksomhet. Bildene mine har også et snev av organiserte strenge former som linjer og rene flater, dette blir min kontrast til følsom bruk av strøk og farger, og skaper den atmosfæren jeg ønsker.

 

Mia Gjerdrum Helgesen

 
 

Sitat:

Mia Gjerdrum Helgesen malerier snakker til oss direkte og treffer våre mest personelige minner og erfarninger. Hennes malerier blander sterke og sarte farger og strøk med enkle detalier. Hvert arbeide formidler en sterk følelse av atmosfære som Helgesen mestrer gjennom hennes harmoniske vinkling, komposisjon og spesielle detaljer. Hun er inspirert av naturen og alt i livet som gir kontraster.

Alt fra følesen av vår og vinter når den første snøen faller, til kontrasten mellom liv og død, der erfaringer og opplevelser blir formidlet gjennom Palettkniven. Arbeidene hennes er laget utifra dypets sjel omringet av naturens blendene fargespill. Kontrastene mellom liv og død, kjærlighet og drømmer.

 

ArtisSpectrum Magazine New York

9/1/06 Alison Rogers

Memory in the Abstract by Maureen Flynn

 

 

GALLERY&STUDIO Magazine vol.9

New York 2007

 

When Willem de Kooning once spoke of "slippery glimpses", he was not so much referring

to the search for the ineffable in the art but, rather, of the subtle revelations that come

about at the twist of a wrist in the process of painting, the mysteries of technique.

Surly Mia Gjerdrum Helgesen, a painter widely exhibited in Norway as well as the United

States, must know what he meant.

She speaks of finding "the strenth to kill your darlings", by which she means "not being satisfied with what you did yesterday, but always stretching further," her approach is characterized by a  unique panache which enables her to catch fleeting impressions that slip effortlessly between  the actual and the abstract.

"I am inspired by the changing seasons in Norway, the feeling of blooming summer, the birth of spring and the cold snow falling on my face," she states, yet the way in which she makes these subtle responses to nature and personal feelings palpable in acrylics on canvas, wood or linen has everything to do with process. Shimmering visions of an idyllic childhood with specific memories of outings in a family sailboat, of flowing waves along the Norwegian coast and other fondly remembered details inform her strokes. Yet her compositions take on abstract autonomy all their own, as she layers luminous hues - translucent blues, greens, and yellows heightened by strident bursts of red - in a manner that evokes an overall sense of emotional exuberance rather than specific appearances.

 

While one can indeed discern "slippery glimpses" of a tree or a reflective body of water or any

number of things amid her abstract forms, these things have a way of disappearing back into the overall thrust of the composition almost as quickly as they appear.  Phantom presences at best,  they inhabit the comosition like fugitive memories, subtexts to the sense of immediacy that Helgesen generates through her dazzling painterly proficiency.

Experience, in other words, seems embedded in the material substance of pigment, rather than merely being illustrated. The effectiveness of her compositions has much to do with her method of color construction, which seems to meld an underlying organizational principle adopted from Cubism with the emotional charge of Expressionism in a highly harmonious synthesis.