Step into the enigmatic world of Tom Sandberg, where Norway transforms into a canvas of glistening rain and shadowy depths. His photographs, a symphony of greys and bold chiaroscuro, have the power to make the mundane feel dreamlike. But beyond the artistry, there lies a captivating paradox: Sandberg, a man known for his hard-living lifestyle, created images that are contemplative and uplifting.
This is the essence of the new retrospective at Henie Onstad Kunstsenter near the Oslo fjord. It's a fitting tribute to a man who was not only Norway's most celebrated photographer but also a pivotal figure in establishing photography as a serious art form in the Nordic region during the 1980s and 1990s.
Sandberg's life, as revealed in the exhibition, was a fascinating mix of contrasts. He was a complex character, known for his eccentricities and a knack for self-mythologizing. Yet, his work exudes a sense of calm and contemplation. The exhibition, titled Tom Sandberg: Vibrant World, spans four decades, from his student work in the mid-1970s to photographs taken shortly before his death in 2014. This show is the first major retrospective since his passing at the age of 60.
Sandberg's connection to Henie Onstad was deep-rooted; he was once their in-house photographer. He captured art happenings within the galleries and created intimate, enlarged monochrome portraits of visiting luminaries like composer John Cage and artist Christo. These portraits, with their intense focus on skin texture, are almost topographical in their detail.
Born in 1953 in Narvik, northern Norway, Sandberg's journey began with a darkroom revelation. His father, a photojournalist, introduced him to the magic of developing photographs. Art historian Torunn Liven, a close friend and trustee of the Tom Sandberg Foundation, recalls that Sandberg was immediately captivated by the process and never looked back. After his father left the family, Sandberg helped his mother raise his sister in a tough part of Oslo. Later, he studied photography at what is now Nottingham Trent University, under the guidance of American photographer Minor White.
For Sandberg, the darkroom was a crucial part of his artistic process, a space for experimentation and refinement. His prints grew larger, almost cinematic in scale. A noirish interior, like the lounge at Oslo's Gardermoen airport, could easily be mistaken for a scene from a Wim Wenders film.
Returning to Oslo in the late 1970s, Sandberg collaborated with printers and designers. While his compositions often had a Zen-like quality, his social life was anything but monastic. As Liven points out, Sandberg had a remarkable ability to connect with people. He befriended everyone from taxi drivers to Norway's crown princess. "I think that unrest is the shadow side of that liveliness. And that, in a sense, his work arrested that unrest,” she says.
Sandberg was known for sharing his darkroom expertise with young photographers, emphasizing the value of a slow, intuitive, and meticulous approach. The Henie Onstad exhibition will include workshops for local secondary school students, allowing them to work on a single picture, a departure from the digital age's endless snapshots.
Morten Andenæs, Sandberg's former assistant and co-curator of the exhibition, remembers both the artist's wild side and his dedication. "He was a wild soul," Andenæs says, noting that Sandberg had a wry smile and didn't take himself too seriously, but took his work very seriously. Sandberg struggled with alcohol and substance abuse.
But here's where it gets controversial... Sandberg himself alluded to a darker side, telling Andenæs that he might have "gone to the hounds" without photography. Rumors swirled around him, including the intriguing question of how he lost part of his ear. Andenæs suggests that Sandberg embraced myth-making, adding a layer of intrigue to his persona.
Despite his solitary, modernist aesthetic, Sandberg was far from a recluse. His human subjects, often seen with their backs to the camera, are studies of form and shadow. In the early 2000s, he photographed his young daughter, Marie, capturing her as a whirl of blonde hair.
Marie, now 30 and managing her father's estate for over a decade, describes him as funny, charismatic, and not always easy to be with. She sees the photographs he took of her as self-portraits, reflecting his own inner world. She recalls his constant engagement with his surroundings, always ready to capture a moment. This engagement extended to his friendships, as Andenæs recalls: “Being in his company felt like the sun was shining on you.”
Sandberg achieved significant success during his lifetime, including a solo show at MoMA PS1 in New York in 2007. His legacy continues to grow, with works on display at Henie Onstad on loan from the Norwegian National Museum and the Tangen Collection, one of the most important collections of Nordic photography in the world.
The exhibition includes only one self-portrait of Sandberg, taken in 2001. It depicts him in an armchair in an empty room, a seemingly unremarkable figure.
And this is the part most people miss... The exhibition is a testament to an artist who captured the essence of Norway's unique beauty, but also a man who embraced life's complexities. It is a reminder that the most compelling art often comes from those who dare to live fully, even amidst the shadows.
What do you think? Does Sandberg's life story add depth to his art? Do you find his work uplifting despite its sometimes somber subject matter? Share your thoughts in the comments below!
