1967 - 2021
ONE MIGHT SEE THE HEROIC ARTIST THAT FIGHTS AGAINST THE MODERNIST'S PREJUDICE.
He was born on 2nd of May, 1963, in Hellesylt, Norway, and passed away 10th of January 2021.
Auditor at The Norwegian State's Craft and Art industry school in Oslo (SHKS), 1988-91
Private apprenticeship with the sculptor and painter Oddmund Raudberget (1991-92)
Own studio in Oslo 1991-2003
Have earlier worked with woodcarving, handicraft, and decoration
2008 Separate exhibition, "Four Paintings", Galleri Espen Eiborg, Oslo
2004 Separate exhibition, "Horizonts", Galleri Ramfjord, Oslo
2002 Retrospective exhibition, Åsentunet, Sunnmørsutstillingen
1998 Separate exhibition, "Graphic art and oil paintings", Storgt 51, Oslo
1997 V-17 Oil paintings, Oslo
1997 Gallery K-27 Oil paintings, Ålesund
1996 Collective exhibition, "Figurative artists", Blomquist kunsthandel, Oslo
1996 "Young Romanticists", Skien
1991 "Subjects", painting, Galleri Bellman, Oslo
November exhibition, Drammen Art association, paintings, coal drawings
Separate exhibition, Gallery Solbakken, Stranda, painting
Modernist in Sheep's clothing?
The Norwegian art critics Lars Elton wrote about Eldar Parr:
"What happens when a small movement becomes a whole picture? when one model turns into many? Eldar Parr has found a topic that has parallels beyond the most obvious ideals of style.
Say "The Nedrum-school", and everybody "knows" what it is about: Archaic figures in barren landscapes - lonely souls in a hostile world. One might see the heroic artist that fights against the modernist's prejudice. At first sight, Eldar Parr's pictures look like this. Three women seek rest together, being closely together in an empty room. On another, there is a lonely man with a strong look. The light treatment and the style all carry the assertion "Nerdrumstudent".
Outside Håkons Hall at Lillehammer, the main arena for the ice hockey contests under the Olympic Winter Games, there is a sculpture by István Lisztes. It is called "Man with Small Gesture," and is a pure form study in a hyper-realistic expression. Three identical male figures stand one after the other on a long, narrow foundation. The only difference between the three figures' appearance is a movement in the hand. It opens gradually through three stages. One can make fun of István Lisztes' sculpture and characterize it by the nickname it got under the Olympic Games: men in a ticket queue. Joking, however, cannot hide the sculpture's intention.
In the plain design I find a concentration of one of the aims of artistic modernism: to cut off everything redundant. That is, to concentrate the expression around the completely essential. The figures' appearance is reduced to a concentrated simplicity - to that which is entirely necessary to give them the characterization "human." In this way, attention is centred on the one important thing: the movement of the hand.
Is Eldar Parr a modernist in sheep's clothing? At any rate, he is not a student of Odd Nerdrum. He has studied at the state's craft and art industry school in Oslo, the SHKS. The schooling has not made him a modernist. However, there is a parallel between István Lisztes' sculpture and Eldar Parr's female figures. Lisztes concentrates the attention around one thing.
Eldar Parr wants to explore the multitude in the single thing. He has used the same woman as a model for the three figures in the painting of the three women, "Sisters," which also exists as a lithograph. It has been written earlier that because of this, it is easy to see them as aspects of one and the same person, where above all movement is the topic. Also, he says it is the repetition and the small variations which fascinate him. Or maybe that he wants to see it all at once, all the time.
Independently of the words we use to label the fascinations which are the basis of the creative act, the concentration and the fine nuances remain. That is, the exploration of a possibility. This is one of the aims of modernism. Eldar Parr, however, performs his work within a realistic style which has been shaped by historical models and in which emphasis is on light effects and colour. Eldar Parr also says that it is almost impossible for him to paint pictures which are not complex beyond their expression as content. Once such an interaction arises, dynamics and communication do so too.
To Eldar Parr, the language lies in the picture surface, not in the picture's literary content. It is in this last sentence that I experience some of the difference between Eldar Parr's approach to his profession and the understanding which exists with regard to the Nerdrum-school.