Siv Moa Lønning


‘You can make the colours sing Siv Moa,’ my mother said to me when I was a child. Being inspired by her studies of the mysteries of color and being surrounded with colour circles and colour squares, I arrived at the moment when I started my own journey of colour towards becoming a painter.

I became the pupil of the Norwegian painter Finn Moe, who guided me from 1983, for nine years, until 1992, through the experiences that gave me the needed confidence and led me towards my own freedom of expression – I learnt to listen to the chromatic metamorphic wonders of colours and I was most fortunate to be able to do this under the guidance and support of Moe. Thus through painting my way towards their many chords and different intervals, I eventually created my own Symphonies of Colour by exploring my own perception of rhythm and tones.

The Italien painter Beppe (Rosario Giuseppe) Assenza (1905-1985, Modica, Sicily), spoken of as the great master of the new dynamics of color, was the teacher of Finn Moe, from whom I inherited Assenza’s tradition and method of paining from colour. As noted by Luciano Balduino, a former student of Assenza: the essential grasping [of] colours as living and freely fluctuating in the soul, is vital for any artist’s true expression. Thus it is only when colour is taken into the artist’s consciousness, in their own nature and essence that the soul acquires the capacity to elaborate colour in line with its intrinsic qualities and properties. As such, the artist may come to see its lines and forms emerge from its natural development, with its source from the awareness brought forth by Goethe, of the metamorphic wonders the chromatic compositions hold, which are alive and touching, therefore allowing themes to arise out of forms created by colour and tonal space.

It is well known that Assenza, whose artistic tradition was to become strongly anchored with roots to Goethe’s philosophy of colour which had similarly inspired painters before him, gave a new direction to the conception of the artistic composition and figuration of his time. In this way, my own path has been influenced by great philosophers and painters, and I would here like to mention Franz Marc, August Macke and Wassily Kandinsky. And by doing so, including the other great artists and philosophers who influenced them, and who painted and lived with a similar command of artistic mastery, and who in their time and mode of expression shared a similar understanding of colour, which was to become the foundation for my own path of becoming the painter I have become.

Wassily Kandinsky talks about how to create a ‘pure painting’ that would provide the same emotional power as a musical composition. As founders of Der Blaue Reiter their underlying goal as artists was their search for an understanding of the spiritual essence of all things, promoting spiritual matters over materialism. With his words, Franz Marc clearly asserts this tradition; ‘I seek to heighten my sensitivity to the organic rhythm in all things.’ Both the artists of Der Blaue Reiter and of the Bauhaus and of course also other painters of their time, created these groups for the search for community and creation of a better world, expressionist aims that are also truly alive today.

Like many artists, I seek an understanding and integration of the spiritual essence of all things and to nurture this. My aim as a painter is to listen for the silent music of colour and geometry, composing chromatic compositions where colours and figurations sing. In the visual spectrum of light, the metamorphic wonders that the chromatic compositions hold are alive, allowing musical themes to arise out of forms created by colour and tonal space, bringing forth the interweaving of the living musical elements of colour and geometry, always dancing in-between light and darkness, hoping to create art in which we may mirror our eternity, nurturing the good, the truth and the beautiful within our hearts.

Painting is a continuous search of surprising oneself. In my own work the seeking of composing sounds of harmony always is present, with the possibility of reflecting the aliveness of nature, both from around us and from within us, simultanously.

From 1998 I dedicated myself to a new artistic medium which I had long sought to explore, mosaics, another kind of expression whose medium requires another touch than painting. Until 2009, I explored colour compositions of ceramic tiles in hues representing the colours of the rainbow, creating a colorful play of star symmetry blossoming within varied fields of tessellations, in some compositions with pieces of mirrors creating a kaleidoscopic sensation with its reflections creating multitudes of patterns within one another, and from 2013 to present exploring compositions in soft shades of white, another mosaic venture with a more detailed eye to the round shapes from patterns unfolding from the six-petal rosette, and the most recent mosaic art, tessellations of hundreds of squares and triangles. All pieces in all my mosaics I cut by hand.

Exploring, through the many years of creating mosaic art, the open secrets of geometric compositions unfolding from within themselves and multiplying naturally in their own order of beautiful patterns, in combination with my drawing studies playing out simultaneously, A Hundred Stars, influenced my work both during this time, and also created a solid foundation for me as I then immersed myself into my Symphony of Geometry paintings. It was in this period, in 2004, I painted my first Symphony of Geometry, Ajnaran, and then in 2010, I embarked on the creative journey creating my Symphony of Geometry paintings through more than seven years, presenting them in my exhibition at Galleri NordNorge in Harstad in 2017.

Throughout my artistic unfoldment and expression, the resonance of the silent music of colour and geometrical figuration has nurtured me playing and awakening within my heart the nature of eternity of oneness and interconnectedness within all life always mirroring itself.

Through my Symphonies of Geometry I hope to share an awareness that symmetrical figuration really is music that we can see, unfolding in nature’s geometric mastery, when captured in a frozen moment, as the soundscape presents itself, mirroring nature both on the outside and the inside, the above and the below, the macro- and the micro-cosmos, the musicality within all of creation.