Instagram Hikaye Görüntüleyici

Here’s a sneak peak from my studio, preparing for @marketartfair. I lived in Stockholm for two years, but it’s been a while and now I can’t wait to go back. Travelling with the rock steady crew at @qbgallery, showing work alongside the one and only @lars_morell. If in Stockholm April 23rd to 26th, please do stop by.

Portrait in editorial by @annevaleur 🌟
Thank you @oca_norway for the support.

Here’s a sneak peak from my studio, preparing for @marketartfair. I lived in Stockholm for two years, but it’s been a while and now I can’t wait to go back. Travelling with the rock steady crew at @qbgallery, showing work alongside the one and only @lars_morell. If in Stockholm April 23rd to 26th, please do stop by.

Portrait in editorial by @annevaleur 🌟
Thank you @oca_norway for the support.

Here’s a sneak peak from my studio, preparing for @marketartfair. I lived in Stockholm for two years, but it’s been a while and now I can’t wait to go back. Travelling with the rock steady crew at @qbgallery, showing work alongside the one and only @lars_morell. If in Stockholm April 23rd to 26th, please do stop by.

Portrait in editorial by @annevaleur 🌟
Thank you @oca_norway for the support.

Here’s a sneak peak from my studio, preparing for @marketartfair. I lived in Stockholm for two years, but it’s been a while and now I can’t wait to go back. Travelling with the rock steady crew at @qbgallery, showing work alongside the one and only @lars_morell. If in Stockholm April 23rd to 26th, please do stop by.

Portrait in editorial by @annevaleur 🌟
Thank you @oca_norway for the support.

Here’s a sneak peak from my studio, preparing for @marketartfair. I lived in Stockholm for two years, but it’s been a while and now I can’t wait to go back. Travelling with the rock steady crew at @qbgallery, showing work alongside the one and only @lars_morell. If in Stockholm April 23rd to 26th, please do stop by.

Portrait in editorial by @annevaleur 🌟
Thank you @oca_norway for the support.

Here’s a sneak peak from my studio, preparing for @marketartfair. I lived in Stockholm for two years, but it’s been a while and now I can’t wait to go back. Travelling with the rock steady crew at @qbgallery, showing work alongside the one and only @lars_morell. If in Stockholm April 23rd to 26th, please do stop by.

Portrait in editorial by @annevaleur 🌟
Thank you @oca_norway for the support.

Here’s a sneak peak from my studio, preparing for @marketartfair. I lived in Stockholm for two years, but it’s been a while and now I can’t wait to go back. Travelling with the rock steady crew at @qbgallery, showing work alongside the one and only @lars_morell. If in Stockholm April 23rd to 26th, please do stop by.

Portrait in editorial by @annevaleur 🌟
Thank you @oca_norway for the support.

Here’s a sneak peak from my studio, preparing for @marketartfair. I lived in Stockholm for two years, but it’s been a while and now I can’t wait to go back. Travelling with the rock steady crew at @qbgallery, showing work alongside the one and only @lars_morell. If in Stockholm April 23rd to 26th, please do stop by.

Portrait in editorial by @annevaleur 🌟
Thank you @oca_norway for the support.

Here’s a sneak peak from my studio, preparing for @marketartfair. I lived in Stockholm for two years, but it’s been a while and now I can’t wait to go back. Travelling with the rock steady crew at @qbgallery, showing work alongside the one and only @lars_morell. If in Stockholm April 23rd to 26th, please do stop by.

Portrait in editorial by @annevaleur 🌟
Thank you @oca_norway for the support.

Here’s a sneak peak from my studio, preparing for @marketartfair. I lived in Stockholm for two years, but it’s been a while and now I can’t wait to go back. Travelling with the rock steady crew at @qbgallery, showing work alongside the one and only @lars_morell. If in Stockholm April 23rd to 26th, please do stop by.

Portrait in editorial by @annevaleur 🌟
Thank you @oca_norway for the support.

We are excited to announce that Nasjonalmuseet has acquired five works by Espen Gleditsch for its collection. 

These works were part of the exhibition ‘Sanatorium Stenersen’, marking the first time The National Museum made use of Villa Stenersen for a commissioned solo show. The exhibition was a photographic dialogue between modern architecture, history and nature, with the house itself becoming an integral part of the experience.  

The exhibition was on view at Nasjonalmuseet, Villa Stenersen from 08.05.2025 to 31.08.2025.

___

Espen Gleditsch
Damp Window (Paimio Sanatorium), 2025
Archival pigment print, 45 x 60 cm
5 + 2 AP

Espen Gleditsch
Luster Sanatorium, 2025
Archival pigment print, 75 x 100 cm
5 + 2 AP

Espen Gleditsch
Stairwell (Paimio Sanatorium), 2025
Archival pigment print, 90 x 120 cm
5 + 2 AP

Espen Gleditsch
The Magic Mountain (Schatzalp Sanatorium,
Davos), 2025
Archival pigment print, 110 x 146 cm
5 + 2 AP

Espen Gleditsch
Sunset, 2025
Archival pigment print, 110 x 146 cm
5 + 2 AP

___

📷 : Tor Simen Ulstein, Kunstdok

___

Please contact @qbgallery to inquire about availability of works.

We are excited to announce that Nasjonalmuseet has acquired five works by Espen Gleditsch for its collection. 

These works were part of the exhibition ‘Sanatorium Stenersen’, marking the first time The National Museum made use of Villa Stenersen for a commissioned solo show. The exhibition was a photographic dialogue between modern architecture, history and nature, with the house itself becoming an integral part of the experience.  

The exhibition was on view at Nasjonalmuseet, Villa Stenersen from 08.05.2025 to 31.08.2025.

___

Espen Gleditsch
Damp Window (Paimio Sanatorium), 2025
Archival pigment print, 45 x 60 cm
5 + 2 AP

Espen Gleditsch
Luster Sanatorium, 2025
Archival pigment print, 75 x 100 cm
5 + 2 AP

Espen Gleditsch
Stairwell (Paimio Sanatorium), 2025
Archival pigment print, 90 x 120 cm
5 + 2 AP

Espen Gleditsch
The Magic Mountain (Schatzalp Sanatorium,
Davos), 2025
Archival pigment print, 110 x 146 cm
5 + 2 AP

Espen Gleditsch
Sunset, 2025
Archival pigment print, 110 x 146 cm
5 + 2 AP

___

📷 : Tor Simen Ulstein, Kunstdok

___

Please contact @qbgallery to inquire about availability of works.

We are excited to announce that Nasjonalmuseet has acquired five works by Espen Gleditsch for its collection. 

These works were part of the exhibition ‘Sanatorium Stenersen’, marking the first time The National Museum made use of Villa Stenersen for a commissioned solo show. The exhibition was a photographic dialogue between modern architecture, history and nature, with the house itself becoming an integral part of the experience.  

The exhibition was on view at Nasjonalmuseet, Villa Stenersen from 08.05.2025 to 31.08.2025.

___

Espen Gleditsch
Damp Window (Paimio Sanatorium), 2025
Archival pigment print, 45 x 60 cm
5 + 2 AP

Espen Gleditsch
Luster Sanatorium, 2025
Archival pigment print, 75 x 100 cm
5 + 2 AP

Espen Gleditsch
Stairwell (Paimio Sanatorium), 2025
Archival pigment print, 90 x 120 cm
5 + 2 AP

Espen Gleditsch
The Magic Mountain (Schatzalp Sanatorium,
Davos), 2025
Archival pigment print, 110 x 146 cm
5 + 2 AP

Espen Gleditsch
Sunset, 2025
Archival pigment print, 110 x 146 cm
5 + 2 AP

___

📷 : Tor Simen Ulstein, Kunstdok

___

Please contact @qbgallery to inquire about availability of works.

We are excited to announce that Nasjonalmuseet has acquired five works by Espen Gleditsch for its collection. 

These works were part of the exhibition ‘Sanatorium Stenersen’, marking the first time The National Museum made use of Villa Stenersen for a commissioned solo show. The exhibition was a photographic dialogue between modern architecture, history and nature, with the house itself becoming an integral part of the experience.  

The exhibition was on view at Nasjonalmuseet, Villa Stenersen from 08.05.2025 to 31.08.2025.

___

Espen Gleditsch
Damp Window (Paimio Sanatorium), 2025
Archival pigment print, 45 x 60 cm
5 + 2 AP

Espen Gleditsch
Luster Sanatorium, 2025
Archival pigment print, 75 x 100 cm
5 + 2 AP

Espen Gleditsch
Stairwell (Paimio Sanatorium), 2025
Archival pigment print, 90 x 120 cm
5 + 2 AP

Espen Gleditsch
The Magic Mountain (Schatzalp Sanatorium,
Davos), 2025
Archival pigment print, 110 x 146 cm
5 + 2 AP

Espen Gleditsch
Sunset, 2025
Archival pigment print, 110 x 146 cm
5 + 2 AP

___

📷 : Tor Simen Ulstein, Kunstdok

___

Please contact @qbgallery to inquire about availability of works.

We are excited to announce that Nasjonalmuseet has acquired five works by Espen Gleditsch for its collection. 

These works were part of the exhibition ‘Sanatorium Stenersen’, marking the first time The National Museum made use of Villa Stenersen for a commissioned solo show. The exhibition was a photographic dialogue between modern architecture, history and nature, with the house itself becoming an integral part of the experience.  

The exhibition was on view at Nasjonalmuseet, Villa Stenersen from 08.05.2025 to 31.08.2025.

___

Espen Gleditsch
Damp Window (Paimio Sanatorium), 2025
Archival pigment print, 45 x 60 cm
5 + 2 AP

Espen Gleditsch
Luster Sanatorium, 2025
Archival pigment print, 75 x 100 cm
5 + 2 AP

Espen Gleditsch
Stairwell (Paimio Sanatorium), 2025
Archival pigment print, 90 x 120 cm
5 + 2 AP

Espen Gleditsch
The Magic Mountain (Schatzalp Sanatorium,
Davos), 2025
Archival pigment print, 110 x 146 cm
5 + 2 AP

Espen Gleditsch
Sunset, 2025
Archival pigment print, 110 x 146 cm
5 + 2 AP

___

📷 : Tor Simen Ulstein, Kunstdok

___

Please contact @qbgallery to inquire about availability of works.

We are excited to announce that Nasjonalmuseet has acquired five works by Espen Gleditsch for its collection. 

These works were part of the exhibition ‘Sanatorium Stenersen’, marking the first time The National Museum made use of Villa Stenersen for a commissioned solo show. The exhibition was a photographic dialogue between modern architecture, history and nature, with the house itself becoming an integral part of the experience.  

The exhibition was on view at Nasjonalmuseet, Villa Stenersen from 08.05.2025 to 31.08.2025.

___

Espen Gleditsch
Damp Window (Paimio Sanatorium), 2025
Archival pigment print, 45 x 60 cm
5 + 2 AP

Espen Gleditsch
Luster Sanatorium, 2025
Archival pigment print, 75 x 100 cm
5 + 2 AP

Espen Gleditsch
Stairwell (Paimio Sanatorium), 2025
Archival pigment print, 90 x 120 cm
5 + 2 AP

Espen Gleditsch
The Magic Mountain (Schatzalp Sanatorium,
Davos), 2025
Archival pigment print, 110 x 146 cm
5 + 2 AP

Espen Gleditsch
Sunset, 2025
Archival pigment print, 110 x 146 cm
5 + 2 AP

___

📷 : Tor Simen Ulstein, Kunstdok

___

Please contact @qbgallery to inquire about availability of works.

STOCKHOLM, MON AMOUR 💛💙
What a blast at @marketartfair with the awesome crew from @qbgallery 🧨💥❗️

Thank you @norgeisverige for a beautiful reception and the chance to experience architect Knut Knutsens masterpiece embassy for Norway in Stockholm. And there was even a spectacular painting by favourite Harriet Backer there🌴🌿✨

STOCKHOLM, MON AMOUR 💛💙
What a blast at @marketartfair with the awesome crew from @qbgallery 🧨💥❗️

Thank you @norgeisverige for a beautiful reception and the chance to experience architect Knut Knutsens masterpiece embassy for Norway in Stockholm. And there was even a spectacular painting by favourite Harriet Backer there🌴🌿✨

STOCKHOLM, MON AMOUR 💛💙
What a blast at @marketartfair with the awesome crew from @qbgallery 🧨💥❗️

Thank you @norgeisverige for a beautiful reception and the chance to experience architect Knut Knutsens masterpiece embassy for Norway in Stockholm. And there was even a spectacular painting by favourite Harriet Backer there🌴🌿✨

STOCKHOLM, MON AMOUR 💛💙
What a blast at @marketartfair with the awesome crew from @qbgallery 🧨💥❗️

Thank you @norgeisverige for a beautiful reception and the chance to experience architect Knut Knutsens masterpiece embassy for Norway in Stockholm. And there was even a spectacular painting by favourite Harriet Backer there🌴🌿✨

STOCKHOLM, MON AMOUR 💛💙
What a blast at @marketartfair with the awesome crew from @qbgallery 🧨💥❗️

Thank you @norgeisverige for a beautiful reception and the chance to experience architect Knut Knutsens masterpiece embassy for Norway in Stockholm. And there was even a spectacular painting by favourite Harriet Backer there🌴🌿✨

STOCKHOLM, MON AMOUR 💛💙
What a blast at @marketartfair with the awesome crew from @qbgallery 🧨💥❗️

Thank you @norgeisverige for a beautiful reception and the chance to experience architect Knut Knutsens masterpiece embassy for Norway in Stockholm. And there was even a spectacular painting by favourite Harriet Backer there🌴🌿✨

STOCKHOLM, MON AMOUR 💛💙
What a blast at @marketartfair with the awesome crew from @qbgallery 🧨💥❗️

Thank you @norgeisverige for a beautiful reception and the chance to experience architect Knut Knutsens masterpiece embassy for Norway in Stockholm. And there was even a spectacular painting by favourite Harriet Backer there🌴🌿✨

STOCKHOLM, MON AMOUR 💛💙
What a blast at @marketartfair with the awesome crew from @qbgallery 🧨💥❗️

Thank you @norgeisverige for a beautiful reception and the chance to experience architect Knut Knutsens masterpiece embassy for Norway in Stockholm. And there was even a spectacular painting by favourite Harriet Backer there🌴🌿✨

STOCKHOLM, MON AMOUR 💛💙
What a blast at @marketartfair with the awesome crew from @qbgallery 🧨💥❗️

Thank you @norgeisverige for a beautiful reception and the chance to experience architect Knut Knutsens masterpiece embassy for Norway in Stockholm. And there was even a spectacular painting by favourite Harriet Backer there🌴🌿✨

STOCKHOLM, MON AMOUR 💛💙
What a blast at @marketartfair with the awesome crew from @qbgallery 🧨💥❗️

Thank you @norgeisverige for a beautiful reception and the chance to experience architect Knut Knutsens masterpiece embassy for Norway in Stockholm. And there was even a spectacular painting by favourite Harriet Backer there🌴🌿✨

Tonight marks the grand opening of the Market Art Fair in Stockholm✨! I’m thrilled to be exhibiting with @qbgallery — come check us out at booth 38 if you’re in town!

Sunset (2025)
Achival pigment print
110x146 cm

A Place by the Sea 2, E1027 Table and Mural (2016)
Archival pigment print
76x60 cm

Stairwell, Paimio Sanatorium (2025)
Archival pigment print
90x120 cm

Tonight marks the grand opening of the Market Art Fair in Stockholm✨! I’m thrilled to be exhibiting with @qbgallery — come check us out at booth 38 if you’re in town!

Sunset (2025)
Achival pigment print
110x146 cm

A Place by the Sea 2, E1027 Table and Mural (2016)
Archival pigment print
76x60 cm

Stairwell, Paimio Sanatorium (2025)
Archival pigment print
90x120 cm

Tonight marks the grand opening of the Market Art Fair in Stockholm✨! I’m thrilled to be exhibiting with @qbgallery — come check us out at booth 38 if you’re in town!

Sunset (2025)
Achival pigment print
110x146 cm

A Place by the Sea 2, E1027 Table and Mural (2016)
Archival pigment print
76x60 cm

Stairwell, Paimio Sanatorium (2025)
Archival pigment print
90x120 cm

Tonight marks the grand opening of the Market Art Fair in Stockholm✨! I’m thrilled to be exhibiting with @qbgallery — come check us out at booth 38 if you’re in town!

Sunset (2025)
Achival pigment print
110x146 cm

A Place by the Sea 2, E1027 Table and Mural (2016)
Archival pigment print
76x60 cm

Stairwell, Paimio Sanatorium (2025)
Archival pigment print
90x120 cm

This polaroid from architect Arne Korsmo’s (1900-1968) own home was first exhibited at @sorlandetskunstmuseum, now @kunstsilo.

Polymorphous Magical Substance 36
(Arne Korsmo, Lille Frøens vei)
Unique Polaroid print
2017

@qbgallery’s presentation at Market Art Fair 2026 brings together @espengleditsch and @lars_morell

Gleditsch’s photographs focus on early functionalist architecture, where utopian ideals meet a quiet sense of unease. Morell’s abstract bronze sculptures suggest organic forms that draw together and pull apart, echoing a sense of proximity and distance. Together, the works reflect on how modernist ideas continue to shape the spaces we inhabit.

Market Art Fair 2026
24–26 April, #stockholm

Espen Gleditsch, ‘Path (Davos)’, (2025)
Espen Gleditsch, ‘The Magic Mountain (Schatzalp Sanatorium, Davos)’, (2025)
Espen Gleditsch. Photo Kari Kjøsnes
Lars Morell. Photo Kari Kjøsnes
Lars Morell, ‘The Host’, (2024). Tor Simen Ulstein

@qbgallery’s presentation at Market Art Fair 2026 brings together @espengleditsch and @lars_morell

Gleditsch’s photographs focus on early functionalist architecture, where utopian ideals meet a quiet sense of unease. Morell’s abstract bronze sculptures suggest organic forms that draw together and pull apart, echoing a sense of proximity and distance. Together, the works reflect on how modernist ideas continue to shape the spaces we inhabit.

Market Art Fair 2026
24–26 April, #stockholm

Espen Gleditsch, ‘Path (Davos)’, (2025)
Espen Gleditsch, ‘The Magic Mountain (Schatzalp Sanatorium, Davos)’, (2025)
Espen Gleditsch. Photo Kari Kjøsnes
Lars Morell. Photo Kari Kjøsnes
Lars Morell, ‘The Host’, (2024). Tor Simen Ulstein

@qbgallery’s presentation at Market Art Fair 2026 brings together @espengleditsch and @lars_morell

Gleditsch’s photographs focus on early functionalist architecture, where utopian ideals meet a quiet sense of unease. Morell’s abstract bronze sculptures suggest organic forms that draw together and pull apart, echoing a sense of proximity and distance. Together, the works reflect on how modernist ideas continue to shape the spaces we inhabit.

Market Art Fair 2026
24–26 April, #stockholm

Espen Gleditsch, ‘Path (Davos)’, (2025)
Espen Gleditsch, ‘The Magic Mountain (Schatzalp Sanatorium, Davos)’, (2025)
Espen Gleditsch. Photo Kari Kjøsnes
Lars Morell. Photo Kari Kjøsnes
Lars Morell, ‘The Host’, (2024). Tor Simen Ulstein

@qbgallery’s presentation at Market Art Fair 2026 brings together @espengleditsch and @lars_morell

Gleditsch’s photographs focus on early functionalist architecture, where utopian ideals meet a quiet sense of unease. Morell’s abstract bronze sculptures suggest organic forms that draw together and pull apart, echoing a sense of proximity and distance. Together, the works reflect on how modernist ideas continue to shape the spaces we inhabit.

Market Art Fair 2026
24–26 April, #stockholm

Espen Gleditsch, ‘Path (Davos)’, (2025)
Espen Gleditsch, ‘The Magic Mountain (Schatzalp Sanatorium, Davos)’, (2025)
Espen Gleditsch. Photo Kari Kjøsnes
Lars Morell. Photo Kari Kjøsnes
Lars Morell, ‘The Host’, (2024). Tor Simen Ulstein

@qbgallery’s presentation at Market Art Fair 2026 brings together @espengleditsch and @lars_morell

Gleditsch’s photographs focus on early functionalist architecture, where utopian ideals meet a quiet sense of unease. Morell’s abstract bronze sculptures suggest organic forms that draw together and pull apart, echoing a sense of proximity and distance. Together, the works reflect on how modernist ideas continue to shape the spaces we inhabit.

Market Art Fair 2026
24–26 April, #stockholm

Espen Gleditsch, ‘Path (Davos)’, (2025)
Espen Gleditsch, ‘The Magic Mountain (Schatzalp Sanatorium, Davos)’, (2025)
Espen Gleditsch. Photo Kari Kjøsnes
Lars Morell. Photo Kari Kjøsnes
Lars Morell, ‘The Host’, (2024). Tor Simen Ulstein

Espen Gleditsch @haugarkunstmuseum

Three works from the series Nostalgia are part of the new exhibition with highlights from the collection at Haugar kunstmuseum, opening this Saturday.

«Three images from the series Nostalgia (2012) by Espen Gleditsch link light to perception. The photographs are object studies of Bohemia crystal prisms, scientific instruments used to split light and separate wavelengths of the colour spectrum. In a text presented alongside the photographs when they were first exhibited, Gleditsch recounted Captain Ross’s first expedition to the Northwest Passage in 1818. An optical illusion caused by the midnight sun over an icy sea led Ross to incorrectly report that a mountain range blocked the passage’s entrance. Photography relies on light to produce an accurate representation of reality; yet, the crystal prisms serve as a reminder that light is an integral part of material phenomena that depend on interpretation.»
— Translation of wall label in the exhibition.

1: Nostalgia 4, 2012. Silver gelatin print, 33 x 27 cm
2: Nostalgia 1, 2012. Silver gelatin print, 27 x 33 cm
3: Nostalgia 8, 2012. Silver gelatin print, 33 x 27 cm

DM or send an email to @qbgallery for more information about available works from this series.

Espen Gleditsch @haugarkunstmuseum

Three works from the series Nostalgia are part of the new exhibition with highlights from the collection at Haugar kunstmuseum, opening this Saturday.

«Three images from the series Nostalgia (2012) by Espen Gleditsch link light to perception. The photographs are object studies of Bohemia crystal prisms, scientific instruments used to split light and separate wavelengths of the colour spectrum. In a text presented alongside the photographs when they were first exhibited, Gleditsch recounted Captain Ross’s first expedition to the Northwest Passage in 1818. An optical illusion caused by the midnight sun over an icy sea led Ross to incorrectly report that a mountain range blocked the passage’s entrance. Photography relies on light to produce an accurate representation of reality; yet, the crystal prisms serve as a reminder that light is an integral part of material phenomena that depend on interpretation.»
— Translation of wall label in the exhibition.

1: Nostalgia 4, 2012. Silver gelatin print, 33 x 27 cm
2: Nostalgia 1, 2012. Silver gelatin print, 27 x 33 cm
3: Nostalgia 8, 2012. Silver gelatin print, 33 x 27 cm

DM or send an email to @qbgallery for more information about available works from this series.

Espen Gleditsch @haugarkunstmuseum

Three works from the series Nostalgia are part of the new exhibition with highlights from the collection at Haugar kunstmuseum, opening this Saturday.

«Three images from the series Nostalgia (2012) by Espen Gleditsch link light to perception. The photographs are object studies of Bohemia crystal prisms, scientific instruments used to split light and separate wavelengths of the colour spectrum. In a text presented alongside the photographs when they were first exhibited, Gleditsch recounted Captain Ross’s first expedition to the Northwest Passage in 1818. An optical illusion caused by the midnight sun over an icy sea led Ross to incorrectly report that a mountain range blocked the passage’s entrance. Photography relies on light to produce an accurate representation of reality; yet, the crystal prisms serve as a reminder that light is an integral part of material phenomena that depend on interpretation.»
— Translation of wall label in the exhibition.

1: Nostalgia 4, 2012. Silver gelatin print, 33 x 27 cm
2: Nostalgia 1, 2012. Silver gelatin print, 27 x 33 cm
3: Nostalgia 8, 2012. Silver gelatin print, 33 x 27 cm

DM or send an email to @qbgallery for more information about available works from this series.

Espen Gleditsch @haugarkunstmuseum

Three works from the series Nostalgia are part of the new exhibition with highlights from the collection at Haugar kunstmuseum, opening this Saturday.

«Three images from the series Nostalgia (2012) by Espen Gleditsch link light to perception. The photographs are object studies of Bohemia crystal prisms, scientific instruments used to split light and separate wavelengths of the colour spectrum. In a text presented alongside the photographs when they were first exhibited, Gleditsch recounted Captain Ross’s first expedition to the Northwest Passage in 1818. An optical illusion caused by the midnight sun over an icy sea led Ross to incorrectly report that a mountain range blocked the passage’s entrance. Photography relies on light to produce an accurate representation of reality; yet, the crystal prisms serve as a reminder that light is an integral part of material phenomena that depend on interpretation.»
— Translation of wall label in the exhibition.

1: Nostalgia 4, 2012. Silver gelatin print, 33 x 27 cm
2: Nostalgia 1, 2012. Silver gelatin print, 27 x 33 cm
3: Nostalgia 8, 2012. Silver gelatin print, 33 x 27 cm

DM or send an email to @qbgallery for more information about available works from this series.

Espen Gleditsch @haugarkunstmuseum

Three works from the series Nostalgia are part of the new exhibition with highlights from the collection at Haugar kunstmuseum, opening this Saturday.

«Three images from the series Nostalgia (2012) by Espen Gleditsch link light to perception. The photographs are object studies of Bohemia crystal prisms, scientific instruments used to split light and separate wavelengths of the colour spectrum. In a text presented alongside the photographs when they were first exhibited, Gleditsch recounted Captain Ross’s first expedition to the Northwest Passage in 1818. An optical illusion caused by the midnight sun over an icy sea led Ross to incorrectly report that a mountain range blocked the passage’s entrance. Photography relies on light to produce an accurate representation of reality; yet, the crystal prisms serve as a reminder that light is an integral part of material phenomena that depend on interpretation.»
— Translation of wall label in the exhibition.

1: Nostalgia 4, 2012. Silver gelatin print, 33 x 27 cm
2: Nostalgia 1, 2012. Silver gelatin print, 27 x 33 cm
3: Nostalgia 8, 2012. Silver gelatin print, 33 x 27 cm

DM or send an email to @qbgallery for more information about available works from this series.

Espen Gleditsch @haugarkunstmuseum

Three works from the series Nostalgia are part of the new exhibition with highlights from the collection at Haugar kunstmuseum, opening this Saturday.

«Three images from the series Nostalgia (2012) by Espen Gleditsch link light to perception. The photographs are object studies of Bohemia crystal prisms, scientific instruments used to split light and separate wavelengths of the colour spectrum. In a text presented alongside the photographs when they were first exhibited, Gleditsch recounted Captain Ross’s first expedition to the Northwest Passage in 1818. An optical illusion caused by the midnight sun over an icy sea led Ross to incorrectly report that a mountain range blocked the passage’s entrance. Photography relies on light to produce an accurate representation of reality; yet, the crystal prisms serve as a reminder that light is an integral part of material phenomena that depend on interpretation.»
— Translation of wall label in the exhibition.

1: Nostalgia 4, 2012. Silver gelatin print, 33 x 27 cm
2: Nostalgia 1, 2012. Silver gelatin print, 27 x 33 cm
3: Nostalgia 8, 2012. Silver gelatin print, 33 x 27 cm

DM or send an email to @qbgallery for more information about available works from this series.

Espen Gleditsch @haugarkunstmuseum

Three works from the series Nostalgia are part of the new exhibition with highlights from the collection at Haugar kunstmuseum, opening this Saturday.

«Three images from the series Nostalgia (2012) by Espen Gleditsch link light to perception. The photographs are object studies of Bohemia crystal prisms, scientific instruments used to split light and separate wavelengths of the colour spectrum. In a text presented alongside the photographs when they were first exhibited, Gleditsch recounted Captain Ross’s first expedition to the Northwest Passage in 1818. An optical illusion caused by the midnight sun over an icy sea led Ross to incorrectly report that a mountain range blocked the passage’s entrance. Photography relies on light to produce an accurate representation of reality; yet, the crystal prisms serve as a reminder that light is an integral part of material phenomena that depend on interpretation.»
— Translation of wall label in the exhibition.

1: Nostalgia 4, 2012. Silver gelatin print, 33 x 27 cm
2: Nostalgia 1, 2012. Silver gelatin print, 27 x 33 cm
3: Nostalgia 8, 2012. Silver gelatin print, 33 x 27 cm

DM or send an email to @qbgallery for more information about available works from this series.

Espen Gleditsch @haugarkunstmuseum

Three works from the series Nostalgia are part of the new exhibition with highlights from the collection at Haugar kunstmuseum, opening this Saturday.

«Three images from the series Nostalgia (2012) by Espen Gleditsch link light to perception. The photographs are object studies of Bohemia crystal prisms, scientific instruments used to split light and separate wavelengths of the colour spectrum. In a text presented alongside the photographs when they were first exhibited, Gleditsch recounted Captain Ross’s first expedition to the Northwest Passage in 1818. An optical illusion caused by the midnight sun over an icy sea led Ross to incorrectly report that a mountain range blocked the passage’s entrance. Photography relies on light to produce an accurate representation of reality; yet, the crystal prisms serve as a reminder that light is an integral part of material phenomena that depend on interpretation.»
— Translation of wall label in the exhibition.

1: Nostalgia 4, 2012. Silver gelatin print, 33 x 27 cm
2: Nostalgia 1, 2012. Silver gelatin print, 27 x 33 cm
3: Nostalgia 8, 2012. Silver gelatin print, 33 x 27 cm

DM or send an email to @qbgallery for more information about available works from this series.

In the quiet village of Roquebrune-Cap-Martin on the French Riviera, furniture designer and architect Eileen Gray built her villa E-1027. As an architect, the 51-year-old Gray was self-taught and this modernist villa – a summer house for herself and her lover, the architect and editor Jean Badovici – was her debut.

Without consulting Gray the influential architect Le Corbusier painted a total of seven expressive murals on the house’s naked walls, in sharp contrast to Gray’s refined design. Gray was furious about this violation of her house, and considered it ‘an act of vandalism’. She would never set foot in the villa again.

A Place by the Sea will be on show at @marketartfair in Stockholm 23–26 April with @qbgallery. The project consists of a series of photographs in black and white from the villa E-1027 and its surroundings, and a text-based work that tells the dramatic story of the villa, Eileen Gray and Le Corbusier.

A Place by the Sea #5 (Exterior Mural), 2016
33x45 cm
Archival black and white pigment print on cotton paper

📷 1: @framacph
📷 2: @noplace.oslo

In the quiet village of Roquebrune-Cap-Martin on the French Riviera, furniture designer and architect Eileen Gray built her villa E-1027. As an architect, the 51-year-old Gray was self-taught and this modernist villa – a summer house for herself and her lover, the architect and editor Jean Badovici – was her debut.

Without consulting Gray the influential architect Le Corbusier painted a total of seven expressive murals on the house’s naked walls, in sharp contrast to Gray’s refined design. Gray was furious about this violation of her house, and considered it ‘an act of vandalism’. She would never set foot in the villa again.

A Place by the Sea will be on show at @marketartfair in Stockholm 23–26 April with @qbgallery. The project consists of a series of photographs in black and white from the villa E-1027 and its surroundings, and a text-based work that tells the dramatic story of the villa, Eileen Gray and Le Corbusier.

A Place by the Sea #5 (Exterior Mural), 2016
33x45 cm
Archival black and white pigment print on cotton paper

📷 1: @framacph
📷 2: @noplace.oslo

In the quiet village of Roquebrune-Cap-Martin on the French Riviera, furniture designer and architect Eileen Gray built her villa E-1027. As an architect, the 51-year-old Gray was self-taught and this modernist villa – a summer house for herself and her lover, the architect and editor Jean Badovici – was her debut.

Without consulting Gray the influential architect Le Corbusier painted a total of seven expressive murals on the house’s naked walls, in sharp contrast to Gray’s refined design. Gray was furious about this violation of her house, and considered it ‘an act of vandalism’. She would never set foot in the villa again.

A Place by the Sea will be on show at @marketartfair in Stockholm 23–26 April with @qbgallery. The project consists of a series of photographs in black and white from the villa E-1027 and its surroundings, and a text-based work that tells the dramatic story of the villa, Eileen Gray and Le Corbusier.

A Place by the Sea #5 (Exterior Mural), 2016
33x45 cm
Archival black and white pigment print on cotton paper

📷 1: @framacph
📷 2: @noplace.oslo

A wounded goddess in her mother’s lap.

In ‘Sentimental Value’ an artwork appears in the family’s house at Frogner:
‘Aphrodite, cradled in her mother’s lap’ (2022) by Espen Gleditsch.

The photograph is part of the series mmmMarbles (2022) and captures a fragment of the Parthenon sculptures.

In Homer’s Iliad, Aphrodite — the goddess of love — enters the battlefield to protect her son Aeneas, a Trojan hero. Wounded in the attempt by a mortal, she retreats from the fight and seeks refuge with her mother, Dione.

Gleditsch’s photograph lingers on a sculptural moment that seems to carry an echo of this story: Aphrodite resting in her mother’s lap — the goddess of love disarmed, vulnerable, and held.

Perhaps something of that ancient gesture resonates within ‘Sentimental Value’.

The film follows the actress Nora and her father, a once-celebrated film director, as they navigate their complicated relationship through art, ambition, and memory. Beneath the roles and achievements lies something fragile and deeply human: the need for recognition, for care, and for a place to rest when we are hurt.

Last night, ‘Sentimental Value’, directed by Joachim Trier, won the Oscar for best international feature. Congratulations✨

#EspenGleditsch
#QBGallery
#SentimentalValue
#JoachimTrier

@espengleditsch will present works from his series ’Sanatorium Stenersen’ at Market Art Fair with @qbgallery, alongside @lars_morell

The series focuses on early twentieth-century sanatoriums built for tuberculosis patients across Europe – spaces designed for healing through sunlight, fresh air and rest, long before the advent of antibiotics.

Gleditsch’s photographs capture the tension between these utopian ideals and the existential anxiety tied to illness and isolation. Read more in the latest story on our website 🔗

Portraits by Anne Valeur.
Espen Gleditsch, ‘Damp Window (Paimio)’, (2025), ‘Bedside Cabinet (Villa Stenersen)’, (2025) and ‘Damp Window (Villa Stenersen)’, (2025).

@espengleditsch will present works from his series ’Sanatorium Stenersen’ at Market Art Fair with @qbgallery, alongside @lars_morell

The series focuses on early twentieth-century sanatoriums built for tuberculosis patients across Europe – spaces designed for healing through sunlight, fresh air and rest, long before the advent of antibiotics.

Gleditsch’s photographs capture the tension between these utopian ideals and the existential anxiety tied to illness and isolation. Read more in the latest story on our website 🔗

Portraits by Anne Valeur.
Espen Gleditsch, ‘Damp Window (Paimio)’, (2025), ‘Bedside Cabinet (Villa Stenersen)’, (2025) and ‘Damp Window (Villa Stenersen)’, (2025).

@espengleditsch will present works from his series ’Sanatorium Stenersen’ at Market Art Fair with @qbgallery, alongside @lars_morell

The series focuses on early twentieth-century sanatoriums built for tuberculosis patients across Europe – spaces designed for healing through sunlight, fresh air and rest, long before the advent of antibiotics.

Gleditsch’s photographs capture the tension between these utopian ideals and the existential anxiety tied to illness and isolation. Read more in the latest story on our website 🔗

Portraits by Anne Valeur.
Espen Gleditsch, ‘Damp Window (Paimio)’, (2025), ‘Bedside Cabinet (Villa Stenersen)’, (2025) and ‘Damp Window (Villa Stenersen)’, (2025).

@espengleditsch will present works from his series ’Sanatorium Stenersen’ at Market Art Fair with @qbgallery, alongside @lars_morell

The series focuses on early twentieth-century sanatoriums built for tuberculosis patients across Europe – spaces designed for healing through sunlight, fresh air and rest, long before the advent of antibiotics.

Gleditsch’s photographs capture the tension between these utopian ideals and the existential anxiety tied to illness and isolation. Read more in the latest story on our website 🔗

Portraits by Anne Valeur.
Espen Gleditsch, ‘Damp Window (Paimio)’, (2025), ‘Bedside Cabinet (Villa Stenersen)’, (2025) and ‘Damp Window (Villa Stenersen)’, (2025).

@espengleditsch will present works from his series ’Sanatorium Stenersen’ at Market Art Fair with @qbgallery, alongside @lars_morell

The series focuses on early twentieth-century sanatoriums built for tuberculosis patients across Europe – spaces designed for healing through sunlight, fresh air and rest, long before the advent of antibiotics.

Gleditsch’s photographs capture the tension between these utopian ideals and the existential anxiety tied to illness and isolation. Read more in the latest story on our website 🔗

Portraits by Anne Valeur.
Espen Gleditsch, ‘Damp Window (Paimio)’, (2025), ‘Bedside Cabinet (Villa Stenersen)’, (2025) and ‘Damp Window (Villa Stenersen)’, (2025).

@espengleditsch will present works from his series ’Sanatorium Stenersen’ at Market Art Fair with @qbgallery, alongside @lars_morell

The series focuses on early twentieth-century sanatoriums built for tuberculosis patients across Europe – spaces designed for healing through sunlight, fresh air and rest, long before the advent of antibiotics.

Gleditsch’s photographs capture the tension between these utopian ideals and the existential anxiety tied to illness and isolation. Read more in the latest story on our website 🔗

Portraits by Anne Valeur.
Espen Gleditsch, ‘Damp Window (Paimio)’, (2025), ‘Bedside Cabinet (Villa Stenersen)’, (2025) and ‘Damp Window (Villa Stenersen)’, (2025).

@espengleditsch will present works from his series ’Sanatorium Stenersen’ at Market Art Fair with @qbgallery, alongside @lars_morell

The series focuses on early twentieth-century sanatoriums built for tuberculosis patients across Europe – spaces designed for healing through sunlight, fresh air and rest, long before the advent of antibiotics.

Gleditsch’s photographs capture the tension between these utopian ideals and the existential anxiety tied to illness and isolation. Read more in the latest story on our website 🔗

Portraits by Anne Valeur.
Espen Gleditsch, ‘Damp Window (Paimio)’, (2025), ‘Bedside Cabinet (Villa Stenersen)’, (2025) and ‘Damp Window (Villa Stenersen)’, (2025).

Printing today at my studio - always a favourite part of the process 🪄

Printing today at my studio - always a favourite part of the process 🪄

Printing today at my studio - always a favourite part of the process 🪄

Printing today at my studio - always a favourite part of the process 🪄

Printing today at my studio - always a favourite part of the process 🪄