News (Current & Upcoming)
2026 centers around new exhibitions, international collaborations, and the continued development of new sculptural work.
The year includes preparations and production of sculptures for Vibrasjoner, a collaborative exhibition with Nordli and Moe at Gallery Format, Oslo (May 7 – June 28).
In August, I will participate in Grit & Wheels Master Class and exhibition at Bild-Werk Frauenau, Germany, continuing international exchange within the field of glass cold working.
September–October will bring my solo exhibition at Krutthuset, Blaker Skanse, Lillestrøm, Norway.
The year will conclude with a collaboration with Vessel Gallery, London, involving the development of a new series of sculptures.
2025
2025 has centered around new sculpture, technical exploration, collaboration, and teaching.
Alongside developing a new work in my Unique series, I supported artists with mould making, glass casting, and cold working. A significant project involved mentoring my oldest daughter during her final art project in glass. Together, we realized an experimental casting process using 1200°C molten glass — a technique I have long wanted to develop further within my own practice. The project resulted in an exhibition of glass sculptures and marked an important technical breakthrough for future work in my studio.
Throughout the year, I served as mentor and jury member for UKM (Norwegian Youth Cultural Festival) in Lørenskog while continuing work on new sculptures and exhibitions.
International collaborations included participation in Ved Bordet at S12 in Bergen, a collaborative exhibition project with Norwegian glass artists and American artist Beth Lipman, as well as the annual Norwegian glass seminar. In autumn, I joined Grit & Wheels during the Glas Leeft festival in the Netherlands, working alongside international cold-working specialists and participating in exhibitions in Leerdam.
Teaching and knowledge sharing remained an important part of my practice. In collaboration with Volt Activity House in Lørenskog, I launched a cast glass course for young people, guiding participants from modelling to casting and cold working toward a final exhibition.
2024
New commissions, restoration work, and international exchange defined 2024.
The year began with the production of two new glass cultural awards for Lørenskog Municipality, created in black and ice-blue glass with the municipal coat of arms embedded within the work. A very different commission followed: the restoration of a large war memorial stone for Lillestrøm Municipality. Drawing on earlier experience in stone working from my years on Bornholm, I restored the two-ton monument and repainted the names of those who fell during the Second World War.
Alongside ongoing work on new sculptures, I hosted a children’s workshop at MiniSkansen, Blaker Skanse.
International activity included participation in the Glass Art Society conference in Berlin, where my work was selected for the juryed members’ exhibition Connections 2024 – Glass from Every Angle.
In autumn, I attended the Norwegian Glass Artists’ Seminar in Tromsø, where Glacier’s End was exhibited in the pop-up exhibition at the Nordnorsk Kunstmuseum.
Following this exhibition, I was invited to participate in Arctic Voices at the New Bedford Art Museum, Massachusetts, USA. I travelled to the exhibition with my sculpture and presented an artist talk, marking an important international chapter of the year.
The year also included continued visibility through Must Study Ice — the STEMM / Homeward Bound film project by Barbara Crawford, USA.
2023
2023 was marked by new commissions, international exhibitions, and an important milestone at the National Museum in Oslo.
The year began with the production of the first two glass awards for Lørenskog Municipality, followed by an intense period dedicated to completing Glacier’s End — a large cast glass sculpture developed during my artist residency at S12. The work was hand-ground and polished in preparation for documentation and submission to the Norwegian Association for Arts and Crafts’ Annual Exhibition.
In May, I travelled to Poland to participate in the group exhibition I & WE, curated by Mika Drozdowska at SIC! Gallery BWA in Wrocław, including an artist talk. Throughout the summer, I hosted an assistant in residence at my studio, where we worked with casting, cold working, and further developing the workshop.
The year also included participation in Studio Glass from Denmark at the European Museum of Modern Glass, Germany, and Must Study Ice — a STEMM / Homeward Bound film project by Barbara Crawford, USA.
Autumn brought continued exhibition activity, including I & WE at the Rona Museum of Glass in Lednické Rovne, Slovakia, Gjenfortryllet at the Nordenfjeldske Museum of Decorative Arts and Design in Trondheim, and a group exhibition at Lørenskog Hus. My work Revelations was presented in Gjenfortryllet.
A major highlight of the year was the selection of Glacier’s End for the Annual Crafts Exhibition by the Norwegian Association for Arts and Crafts (NK) at the National Museum in Oslo. In connection with the exhibition, I contributed workshops and artist talks in collaboration with PTAB, Plot, and NK at both Blaker Skanse and the National Museum.
2022
Commissions, exhibitions, and technical experimentation in glass casting characterized 2022.
The year began with a commission from the Norwegian Ministry of Foreign Affairs for two sculptures destined for the Norwegian Embassy in Moscow, Russia. Intended as symbolic “ice breakers” for dialogue around themes such as climate and environmental challenges, the works were delayed by the outbreak of the war in Ukraine and reached their destination later in the year.
In spring, I was selected for an artist residency at S12 in Bergen, where I developed cast glass works using plaster forms. After extended annealing, the sculptures were transported to my studio for cold working and finishing.
During the summer, my work was included in the group exhibition I & WE, curated by Dominika Drozdowska at S12 Gallery in Bergen. At the same time, I prepared my solo exhibition Beauty in the Beast, presented in the historic gunpowder house at Blaker Skanse, Norway.
In autumn, I was commissioned to design and produce five glass cultural awards for Lørenskog Municipality. The project occupied the remainder of the year and resulted in a series of sculptural awards in blue and black glass, integrating the municipality’s coat of arms within the design.
2021
2021 began with a dream project: realizing a large-scale Unique sculpture for Viking Cruises.
After several years in my studio as a large wax form, the work was finally completed and sent for casting in the Czech Republic. Weighing 240 kilos, the project required collaboration with a Czech foundry. Pandemic restrictions made travel challenging, but I was able to visit during production to discuss the cold working process, while much of the collaboration continued through remote meetings.
In December, the sculpture was installed aboard Viking Octantis, beginning its journey at sea — with Antarctica as its first destination.
During the year, I also worked as an art consultant for DKS at Lørenskog Culture House, where nearly 600 fifth-grade students participated in an art treasure hunt. After long periods of lockdown, it was deeply rewarding to work creatively with children again.
Amid ongoing restrictions, I focused on developing my mobile workshop and studio practice at home. The year concluded with two significant milestones: the fulfillment of a long-held dream through the realization of the monumental Unique Octantis, and the acquisition of Unique Revelations by the Nordenfjeldske Museum of Decorative Arts and Design, Trondheim, for their collection.
2020
Like for many others, 2020 was profoundly shaped by the Covid-19 pandemic. Planned exhibitions, conferences, and professional activities were cancelled, while balancing studio work with home schooling for my two daughters made artistic production increasingly challenging.
In response, I applied for and received local Covid support, which enabled me to establish a mobile workshop at home — creating greater flexibility to continue working during an uncertain period.
Despite the challenges, the year also marked the beginning of an important new chapter in my artistic practice: receiving the commission for the large-scale Unique Octantis sculpture for Viking Cruises and beginning work on what would become one of my most ambitious projects.
In September, my mother passed away after ten months of cancer treatment. Combined with the restrictions and isolation of the pandemic, her loss marked the year with deep grief and reflection.
2019
2019 was a year of international exhibitions, recognition, and continued artistic development.
In spring, my work was presented at Collect at the Saatchi Gallery, London, with Vessel Gallery, marking the gallery’s 20th anniversary exhibition.
During the summer, I was invited to exhibit alongside Karen Klim in BRAVO at Kunsthåndverkerne i Kongens gate, Oslo, accompanied by an artist talk led by Vidar Koksvik. During the exhibition, the sculpture Unique Mist was acquired by KODE Museum, Bergen. The year also included Spor i Tid with the artists of Blaker Skanse at Ullensaker Kunstforening, Norway.
An important highlight was participation in the 8th Beijing International Art Biennale at the National Museum of China in Beijing. My sculpture Unique Blue was exhibited, acquired by the Biennale Committee, and accompanied by participation in symposiums and seminars.
The year concluded with a return to China for the 4th China–Hejian Industrial Glass Design Innovation Competition, where two sculptures, Unique Shimmer and Shine, were exhibited, acquired by the Hejian City Museum, and recognized with the Excellent Work Award. The competition also included participation in symposium activities and professional exchange.
Alongside exhibitions and international travel, I continued my long-standing annual sculpture workshop with Eli Benveniste at Bornholm Art Museum, developing new clay sculptures for glass casting — a valued space for experimentation and artistic reflection. I also worked as an art educator for DKS at Lørenskog Culture House, where nearly 600 fifth-grade students participated in an art treasure hunt.
2018
International collaboration, Arctic themes, and touring exhibitions defined 2018.
My work travelled with Handmade – Scandinavian Glass: Starting All Over, a Nordic touring exhibition presented at The Finnish Glass Museum, Riihimäki, Finland, The Glass Factory, Boda, Sweden, and Glasmuseet Ebeltoft, Denmark.
The year also brought international activity in the United States, including a guest artist stay at the Herberger Institute for Design and the Arts, Arizona, artist talks and lectures for Arizona State University, and a glass demonstration and lecture at Mesa Glass Studio, Arizona. My work was presented in Fragile Latitudes at Step Gallery, Arizona.
Arctic-inspired work continued through an artist residency at Galleri Svalbard, Norway, culminating in the solo exhibition Arctic Glass.
Additional exhibitions included Scandinavian Glass with Vessel Gallery, London, Konglomerat at Lørenskog Hus, Norway, and continued work as an art educator for DKS at Lørenskog Hus.
2017
2017 brought my solo exhibition Arctic Explorations at Gallery Format, Oslo, alongside commissions for Viking SunCruise Line. My work was also presented in Modern Masters at Galerie Handwerk, Munich, Germany.
During the year, I assisted Colin Reid in a cast glass course for members of the Norwegian Association for Arts and Crafts (NK), further deepening my engagement with glass casting and knowledge sharing.
I continued my sculpture workshop practice with Eli Benveniste at Bornholm Art Museum, Denmark, and worked as an art educator for DKS at Lørenskog Hus, developing workshops and art activities for school classes.
2016
A defining experience of 2016 was participation in The Arctic Circle — an art and science expedition through Svalbard and the High Arctic aboard a three-masted sailing vessel, organized by The Farm Inc., USA.
The expedition became a profound source of inspiration for later works exploring Arctic landscapes, transformation, light, and environmental themes.
Alongside this experience, I worked as guest programmer and curator for Lørenskog Hus (2016–2017), presented an artist talk and lecture in Prague, Czech Republic, and continued my sculpture workshop practice with Eli Benveniste at Bornholm Art Museum, Denmark.
The year also included educational work at Lørenskog Hus, where I developed workshops and an art treasure hunt for school classes, continuing my engagement with art education and public outreach.
2015
2015 was a year of exhibitions, international engagement, and consolidating my studio practice in Norway.
My work was presented internationally at Collect 2015 at the Saatchi Gallery, London, with Gallery Format, and at SOFA 2015 in Chicago, where I participated in an artist talk for Gallery Format. The year also included GLASS 2015 at Gallery TEN, Edinburgh, and a group exhibition with BRUDD in Oslo.
A major personal milestone was the official opening of my glass studio and cold-working workshop in Norway on October 31st, marking an important step in establishing my artistic practice after returning from Denmark.
During the year, I served as a jury member for the Stanislav Libenský Award in Prague, Czech Republic, continued my sculpture workshop practice with Eli Benveniste at Bornholm Art Museum, Denmark, and worked as an art educator for the National Museum in collaboration with Lørenskog Hus (2014–2015). I also became part of BRUDD, an important professional network for artists and crafts practitioners in Oslo.
2014
After many years abroad, I returned to Norway to establish my glass studio and cold-working workshop at Blaker Skanse, outside Oslo, relocating kilns, grinding equipment, and workshop machinery from Denmark. The years 2014–2015 marked the foundation and development of the studio and workshop that continue to form the base of my artistic practice.
The year included exhibitions in Germany, Denmark, and Norway, among them Unique / Blackroom – Unique 2011–2014at Grønbechs Gård, Bornholm, Norwegian Glass Now at Gallery Format, Oslo, and Young and Loving at S12, Bergen.
A particular highlight was participation in The Coburg Prize for Contemporary Glass 2014 at the European Museum of Modern Glass, Germany, where Unique Frost and Unique Frozen Galaxy were selected by the jury.
During 2014–2015, I also worked as an art educator for the National Museum in collaboration with Lørenskog Hus, and continued my sculpture workshop practice with Eli Benveniste at Bornholm Art Museum, Denmark.
2013
In 2013, I worked as workshop manager for the glass studio at Bright Park Bornholm, Denmark, continuing to develop both technical expertise and artistic practice within glass. Alongside this role, I worked with an integration project and as an art educator at Nexø School, Denmark, and held a working period at KADK, The Royal Danish Academy of Fine Arts Schools, Denmark. From 2013–2014, I also served on the board of ACAB (Arts and Crafts Association Bornholm).
Exhibition activity during the year included participation in ACAB – Arts and Crafts Association Bornholm at Grønbechs Gård, Denmark.
A major highlight was being selected for Kunsthåndverk 2013 at the National Museum, Oslo, Norway, alongside my solo exhibition Lene Tangen – Unique at Grønbechs Gård, Bornholm.