A masterful curatorial vision lies in this collaborative endeavor that unites two generations of Stavanger artists in creating a dynamic canvas in public space – while the newest generation of onlookers engages in the joyful spectacle of football nearby and around them. The convergence of these two artists, separated by a half-century, in creating something novel is a rare, unique offering at the Nice Surprise Festival.

An internationally celebrated octogenarian whose art graces the walls of countless homes countrywide in Norway harmoniously joins forces with a contemporary graffiti virtuoso renowned for adorning the city’s walls and represented by prestigious galleries in Oslo and Stavanger. Amidst their shared geographic and societal influences, one may instinctively seek a common thread, a thread that unravels the aesthetic DNA of a city.

In this second installment of our coverage of this remarkable collaboration for the Nice Surprise Festival, we see the completed work resonating with the distinct voices of each artist echoing.
“I’m used to larger formats,” Mr. Pahr-Iversen says as he brings his distinctive strokes to these white walls in kinderland. “And when they asked me to participate, I considered that an honor.”

“Well, I was a little bit nervous,” says Atle regarding his trepidation to ask the famed painter to work on the street with him. “But he was positive right away,”

BSA: Do you know anything about graffiti?
Mr. Pahr-Iversen: No, I don’t. Never. I come from the other side.
BSA: You come from the perspective of the formal Academy of Arts?
Mr. Pahr-Iversen: Yes, sure.
BSA: But you were supportive of the project from the onset?
Mr. Pahr-Iversen: Let’s say I like the man, and I like the idea. This has a humanistic element to it. There is an impetus to make things beautiful or to make things right. There is something here that combines elements of religion, art history, and normal human behavior at its best. I’ve painted on concrete before – I went to the Royal Academy in Copenhagen, and of course, I have lived in Paris…

The two work separately while they are together, the air punctuated excitedly with the screams and yells of primary school children who try not to kick the ball into them. But the noise does not appear to bother either of the studio artists, despite being more accustomed to the quiet solitude of a studio.

An unusual meeting of styles, these three panels may remind some of the enormous graffiti jams that are launched in cities throughout the world every year. Since Østrem ran his own graffiti supply store here for several years and sponsored many events related to it, he is arguably one of the most knowledgeable about graffiti culture and history in the city.

The father of a young son himself, Østrem says that this schoolyard environment is not entirely unusual for him.

BSA: How do you like painting here while students are playing all around you?
Atle: It’s nice. They’re very honest critics. One boy talked to me about the painting for 10 minutes, likening it to Minecraft. Another one was saying, “I see some animals here.” And so we get a lot of comments.

A consummate professional with years of finely tuned patience, Pahr-Iversen says this is a genuinely new experience. Still, his training and world traveling and exhibiting have prepared him for almost anything. For the moment, he concentrates on his own brand of abstract expressionism, perhaps in love with the first years when we are all exposed to color, shape, geometric shapes, patterns, and creative play.

“I also like the triptych and the image of an icon because it creates a focal point for the viewer,” he says. “For me, it is also a meditation.”

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