LOVE NORWAY X - HARDING AS

MEDIA

DATE

HARDING AS

The Harding Flag is a development of The Love Norway X project, inspired by the bicentennial anniversary of the founding of the Norwegian Constitution and is made primarily out of a specialist boat building material used by Harding in the construction of their world renowned lifeboats. Working with local craftsmen, the artist has found new ways to use this material by combining traditional techniques and new technology. Using the proportions of the Norwegian National Flag, it combines quotations, words, sentences, symbols and patterns, both ancient and modern that reflect mankind's continued hopes and wishes for the best of all possible worlds. The design incorporates archaic pre-calligraphic lettering and motifs. These geometric shapes, comprised of simple angles, are found across many ages and cultures. Included are Norwegian Runes, Kufic text from Arabia, Horyig seal script from Tibet, and I - Ching hexagrams from China. In combination, their lines form a 'tapestry' illustrating a common message that transcends language.

These styles of writing have crossed over at various points in time. Runic graffiti is to be found in the Church of Hagai Sophia in Constantinople, Kufic text is to be found on silver coins in Viking graves and Oriental seals and symbols are distributed all along the trades routes used by Vikings, Arabs and Mongol tribes alike, connecting Northern Europe to the Far East.

The Harding Flag illustrates that in different ways and at different times we have all been searching for the same thing, no matter where or when we have been living. Avoiding a sentimental interpretation of the concept of ' Love ', this work celebrates instead the more collective qualities of mutual understanding, acceptance and co-operation.

KVINNHERAD KULTURFESTIVAL

MEDIA

DATE

Kvinnherad Kulturfestival

Each year, the cultural office of Kvinnherad Kommune celebrate the cultural achievements of the region in a 3 day long festival.

As many creative and artistic disciplines as possible are represented and the events and exhibitions are multi generational and all inclusive.

2014 was a particularly significant year. It marks the 200th anniversary of The Norwegian Constitution,Ian Ward Garlant was invited by the Kommune to be the Festival Artist for this important occasion. The event and location in Kvinnherad’s industrial centre, Husnes was the ideal stating point for the Love Norway X exhibit.

The large scale sculptural relief 'The Construction Love' and the ‘ Golden Bauta ‘ were centrally placed in the main concert hall for the duration of the festival, providing the perfect backdrop to the activities and a vocal point to embody the spirit of the bicentenary

THE VESTERHEIM - THE NATIONAL NORWEGIAN-AMERICAN MUSEUM

MEDIA

DATE

The Vesterheim - The National Norwegian-American Museum

This exhibition is a special installation of a monumental artwork—a flag sculpture—made by Ian Ward Garlant of Hatlestrand, Norway, to celebrate the 200th anniversary of the Norwegian constitution. The artwork illustrates the principles that the occasion embodies—love, mutual acceptance, and compassion.

Utilizing an array of quotations, words, symbols, and patterns culled from both the ancient and the modern, the piece in this exhibition reflects mankind’s continued hopes and wishes to create the best of all possible worlds—a testament to love.

Stylistic choices for Garlant’s work borrow from Viking runes found in Norway, kufic text from Arabia, horyig seal script from Tibet, and I-Ching hexagrams from China. These methods of writing have crossed over at various points in time: runic graffiti is to be found in the Church of Hagia Sophia in Constantinople, kufic text is to be found on silver coins in Viking graves, and oriental seals and symbols are distributed all along the trades routes used by Vikings, Arabs, and Mongol tribes alike, connecting Northern Europe to the Far East. Garlant combines these together to form a “tapestry” illustrating a common message that transcends language.

Born in 1962 to an English father and Norwegian mother, Garlant left an illustrious career in London’s top fashion houses to dedicate his life to making art full-time on Norway’s Hardanger fjord.

This exhibition was created in partnership with American Swedish Institute.

THE GOLDEN BAUTA

MEDIA

DATE

The Golden Bauta, or ‘Kjærleiksbauta'

'A Monument to Love ' is a contemporary sculptural response to the traditional standing stone or Bauter used throughout Scandinavia as a means of commemorating significant people, places and events. Constructed out of a specialist boatbuilding material sourced from a lifeboat manufacturer based on the west coast of Norway, it combines the latest high technology with centuries old philosophy and meaning. The artist has created a fusion of form and message using engraved geometric symbols, comprised of simple angles that incorporate early engraved writing techniques as found across many ages and cultures.

The front surface of the piece illustrates the artist's rendition of an inscription found in 1955 at Bryggen in Bergen, now part of the Norwegian national runic archive.

The original engraving '' Love conquers all .... we yield to love '' is carved in 13th century Norwegian runic form and is a translation of the Roman poet Virgil's Eclogues written in 50 BC. Virgil's work references the style of Theocritus a Greek poet writing around 270 BC.
They are both heavily influenced by Homer writing in the 9th century BC and establishing the legend of the Golden Age. This was an idealised time of man's innocence and perfect harmony with the World and a pre- Biblical version of the Garden of Eden.

The artist has connected the Runic letters in way inspired by Kufic text, another pre cursive writing style from the same period. This text is to be seen on Arabic coins found in Viking burial sites in Norway and across Scandinavia, and was used for writing the Quran until the 12th century. It is a strictly controlled angular text containing primarily right angles that closely resembles and has been used in conjunction with the Phags-pa seal script from Asia.

While the Buddhist ideology originated in India, it was not given a consistent form until established in China in the 5th century.

In the 13th century the Chinese Emperor Kublai Khan issued the creation of the the Phags- pa as the official seal script to unify the territories that spread over China, Mongolia, Tibet, across Russia, Persia and as far as eastern Europe.

This style is used on the reverse side of the sculpture. It illustrates a Buddhist prayer or Mani Mantra , pronounced - om mani padme hum - this is the mantra of Avalokiteshvara. In our modern times the sacred Mani mantra could not be more applicable in meaning and benefit. It embodies Loving-kindness and understanding, containing six syllables each purifying and converting negative emotions into wisdom.

These methods of writing have crossed over at various points in time. As the Vikings spread Runic forms across Europe and the Middle East so the Mongol armies took this seal script with them across Asia into Arabia. In this sculpture they are used to create three dimensional patterns containing a common message that transcends language.

The Golden Bauta, or ‘ Kjærleiksbauta ' exhibited as part of love airway X has been reserved for purchase by Kvinnherad Kommune to be put on permeant display after its return to Norway from the USA in 2015.

LOVE NORWAY X - MINNEAPOLIS

MEDIA

DATE

Love Norway X

2014 marks the 200th anniversary of the founding of the Norwegian constitution.

I have been invited by the Royal Norwegian Consulate in Minneapolis together with the American Swedish Institute to create an installation to celebrate this occasion and to illustrate the principles that it embodies. I plan to do this in the form of a sculptural relief using the shape and proportions of the Norwegian National flag in its construction.

The community of Hatlestrand in Kvinnherad, Norway, will be working with me to build this piece, using techniques that we have developed together in the production of past exhibits. By working in close co operation with local craftsmen, who have found new ways to use readily available materials, some traditional and others high tech.

This piece is to be constructed using quotations, words, sentences, symbols and patterns, both ancient and modern, that reflect mankind's continued hopes and wishes to create the best of all possible Worlds. For aesthetic purposes I have included arcane pre-calligraphic lettering and motifs. These engraved geometric shapes, comprised of simple angles, are to be found across most ages and cultures. In combination their lines form a 'tapestry' illustrating a common message that transcends language.

For historic and cultural purposes I have chosen runes found in Norway, kufic text from Arabia, horyig seal script from Tibet, and i ching hexagrams from China. These methods of writing have crossed over at various points in time : runic graffiti is to be found in the Church of Hagai Sophia in Constantinople, kufic text is to be found on silver coins in Viking graves and oriental seals and symbols are distributed all along the trades routes used by Vikings , Arabs and Mongol tribes alike, connecting Northern Europe to the Far East.
While this piece of contemporary art celebrates the foundation of the Norwegian constitution and demonstrates the skill and ingenuity of Norwegians, it also recognises that in different ways and at different times we have all been searching for the same thing, no matter where or when we have been living. Just one way this is illustrated is the use of an 'X' in the title of the exhibit : a letter that is simultaneously the ancient runic symbol for gift, a contemporary symbol for a kiss and the traditional way in which any person anywhere is able to make a choice, cast a vote or even sign their name. The notion of 'love' is more complex. It is eternal yet entirely subjective, universally acknowledged but interpreted in very different ways.
I aim to avoid the sentimental, once size fits all, ego based love found in our current consumer culture and emphasise instead the much older and more collective qualities of compassion, mutual acceptance and spiritual love.

Interestingly, whilst in the English culture it has become common practice to finish most personal correspondence with the word ' 'love ', in Norwegian it remains difficult to use that single word without issuing a more serious imperative - 'to love' . Thus the phrase ' Love Norway ' contains an instruction to do so, an entirely appropriate attitude for those whose task was the construction of that Country's constitution.

SPLASH

MEDIA

DATE

CELEBRATION

MEDIA

DATE

CELEBRATION

This piece has been commissioned by Terje and Solgunn.
Ask to commemorate the birth of their daughter Lilja.

I Ching Hexagram: 55
Name: Feng.
Meaning: Abundance.
Formed By The Trigrams: Thunder over Fire.
Enjoy and celebrate the success of your relationship.
Even though you are currently very successful make sure you make plans for the future.
This is a very successful time for you. Make the most of your success for lasting benefits.

ABUNDANCE has success.
The king attains abundance
Be not sad.
Be like the sun at midday.

This composition was designed whilst creating a body of work in response to the poems of Olav H Hauge. In particular to the poem " To Li Po " in which the poet advises that the gifts of life should not be taken for granted. It is the perfect motif to celebrate the birth of a child, welcome her into the world and wish her every happiness whilst still acknowledging the essential transience of the human condition.

MEDALLION

MEDIA

DATE

MEDAL

commissioned by BERGEN UNIVERSITY/MUSEUM
(used to represent  Norway at the International  2012 medallion symposium at The Huntingdon Museum)

ILOVEYOULOVE ME

The medal made by Norwegian-English Ian Garlant appears as an abstract pattern, but it is actually a Norse runic inscription from 12th century Bergen. Without loosing the content of the text, the runes have been arranged and made into a design: ek pik un / un pu mek, meaning: ‘I love You, love me’. In this way, the medal appears as a kind of three-dimensional calligraphy - the dialogue inherent in the text itself mirrored in the appearance of the same inscription from two sides. Where such an inscription is carved in wood, the letters are ‘nothingness’, air, surrounded by matter and kept in place by it. The medal, however, shows the opposite procedure: the letters are matter surrounded by air, yet kept in place by the circle. Love is not embedded in matter, but is itself the main substance.

In addition, the inscription appears like sound waves on a circular screen, a graphic picture of the very sentence: I love you, love me, suspended in the air.

Prof. Dr. Henrik von Achen
Director, university museum of Bergen