The Norwegian artist Cathrine Maske works with both glass and photography; separately and in combination. In 1990 Maske initiated her ceramic studies at Oslo National Academy of the Arts. During 1993 she joined a semester at the University of Art in Sunderland to study glass. The same year she was accepted at the University of Art and Design in Helsinki, where she spent three years as an MA student doing research on the combination of glass and photography. She has received numerous grants and honours and has exhibited her works throughout Norway and abroad.
Her artistic work includes large-scale installations in public buildings, art objects for exhibition purposes and functional tableware for everyday use.
Maske´s works are purchased by the Norwegian Museum of Industrial Arts in Oslo, Indianapolis Museum of Art, USA, the Norwegian Foreign Ministry (to the embassies in Stockholm, Berlin and New York), the Art Museum of Southern Norway, the art collection of Kristiansand, Telenor, Nordenfjeldske Museum of Industrial Art in Trondheim, the Art Museum of Northern Norway, and the Norwegian Arts Council.
An unusual combination of glass and photography is often an element in the work of Cathrine Maske. Through several years of studies in Norway, England and Finland she has created a new artistic image in which the two different medias are equally represented. By exploring the properties of the glass in interaction with the highly different medium represented by the photography, she has indeed contributed to the renewal of Norwegian glass art and is considered one of Norway’s finest glass artists.
When working with photos Maske shows her ability to capture details and significant moments. As many photographers Maske loves Hasselblad cameras. The fascination of analogue film is not only about the quality of the result, but also the process itself. Each film has only 12 images in medium format, 6 × 6 cm. That means that she has to think through what she shoots, and be present in the moment when she presses the shutter button.
– With a digital camera one often have twenty images of the same subject, but using analogue film I never take more than two exposures of the same subject, she sais. – This way it becomes almost more important what I choose not to take a picture of, than what I am actually shooting. This way of working also takes the pace of the process and makes Maske become more present in her work. – It´s a bit like handwriting or drawing on paper; the physical work has a bearing on the result, states the artist.