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Are Blytt, Ashes II, acrylic on linen, wooden stretcher, 200 x 145 cm, 2014

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Are Blytt, Ashes I, acrylic on linen, wooden stretcher, 200 x 145 cm, 2014

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Are Blytt,Ashes, Installation View, 2014
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Are Blytt, Selected writings #3, charcoal on paper, frames, books, newspapers, 46 x 34 x 23 cm, 2012

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Are Blytt, Selected writings #6, charcoal on paper, frames, books, 44 x 91 x 18 cm, 2012

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Are Blytt w/ Jan Christensen, Installation View, Kunstnernes Hus, Oslo, 2013

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Are Blytt, Abstraktionen des Bücherregals #2 & #3, oil, paper and fabrics on canvas, wooden stretcher, books, 200 x 130 cm each, 2013

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Are Blytt, Poem, oil on canvas, wooden stretcher, diptych, 240 x 370 cm, 2013

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Are Blytt, Horse, bleach on hand dyed linen, 51 x 66 cm, 2011
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Are Blytt,the Abstraction of Barry Lyndon, Installation View , 2011

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Are Blytt,Grey I, gouache and ink on paper, 2011
AB DR001

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Are Blytt, The Abstraction of Barry Lyndon, Installation View, 2011

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Are Blytt, Die Jahreszeiten/Abstraktionen des Henle Verlags, 2010, hand dyed linen, 50 x 200 cm, 2011
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Are Blytt

Selected Wor k

Biography/ Exhibitions
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Erasure is as much the construction of a surface as it is the removal. The truth of this statement has never been made more apparent than in Robert Rauschenberg's Erased de Kooning Drawing (1953). It is one of few contemporary works that resonates with exacting authority and where material and concept are inextricably entwined. It was a moment that Rauschenberg referred to as ‘poetry’, and a moment that all other commentaries could only describe as gesture, protest, irreverence and vandalism. It marks time as material truth.

In turn, the work of Are Blytt does not strive for the immaterial but instead to articulate the material, and it chooses objects and design as its means. Set against the fast moving speed of the present Blytt’s work revels in moments of pause and intermission, and in objects and articulations that are intimate, personal, close at hand and recurring. He takes pleasure in sustained ‘absorbing’ activities of reading, listening to music and watching film, and to the design and origin of these creative abstracts. He is drawn to objects that can be picked up and handled, books, manuscripts and till receipts, and to objects that implicitly contain, carry or suppose narrative. He is further drawn to the peripheries and exteriors of these objects, to their covers, cases, and acted upon surfaces, and to the graphics, images and hastily scrawled notes that mark and mar them. These superfluous scribblings are disclosures of fleeting thought, calculations or reminders, symbols that disconnect from the world as the moment of their manufacture or reiteration passes, and which in their displacement simply become numeric and typographic abstractions. […]’

Charles Danby 2011, extract from his essay ‘Are Blytt, Fluctuations’ for the exhibition catalogue The Abstraction of Barry Lyndon (2011)