Symmentionality
New works by David Berkvam

"Chipmunk Hole", 24" x 24"

On view at Division January 3rd - March 2nd

David Berkvam is an artist whose work I have been following for almost a decade now. Working with him is fantastic - he's professional, relaxed, dependable, and charming. “Symmentionality” is a collection of three-dimensional layering of subtractive art pieces. It is definitely best experienced in person.

"Chipmunk Hole" detail

David kindly let me interview him about his process and a little bit of history of his work. 

WS: As a child, were you constantly drawing? 

DB: Yes, all the time. I always had a little stack of typing paper in my lap. My first love was animals. I watched a lot of animal documentaries and Mutual of Omaha’s Wild Kingdom. Around age 7 or 8 I started adding people and monsters to the drawings. I have yet to replace those three elements.

WS: The title of your show is “Symmentionality”. Can you explain or define what that means (to you)?

DB: It’s a silly combination of symmetry and dimensionality. I Googled it and nothing came up so I kept it. It also sounded similar to other series I have done, “Symbiogenisis” and “Symmetriosis”.

"Hummingbird", 24" diameter

WS: When I was first introduced to your work, I was compelled to stay with it a while and take it all in. They were so rich and detailed and I could not wrap my head around how you came to your method. I am talking about your paintings on beeswax where you carved into afterwards - or that is how they appeared to me. Can you tell me about how you came to this process? 

DB: I bought a block of wax to try encaustic painting, but that technique never did much for me. I remember drawing a little devil directly on the beeswax with an etching needle. I rubbed some paint into it and that was that. Lately I’ve been using a kaolin clay ground which I mix with rabbit skin glue and water and some pigments. I brush 5 or 6 layers on the panel which gives me a similar look and feel as the wax, but with better detail and control. I do miss the smell of the beeswax.

WS: Do you have any history in print making?

DB: I’ve done a little etching and woodcutting. I went to the University of Oregon for one year and they had a lithography press. I lived out my Daumier fantasies on those big limestones. I would love to do that again. 

WS: I noticed you have a hearty record collection in your studio. Do you have favorite albums that you like to listen to while making your work?

DB: While I was working on this last series I remember listening to Georges Brassens, ESG, Suzi Quatro, Joe Tex, Too Many Zooz, and Millie Jackson. I also rediscovered the first Mötley Crüe record, which is pretty damn good.

David's home studio

WS: Texture and layers have been present in your work for a while. Over the last few years, it seems as though you are working more sculpturally, while still hanging on a wall. Do you have any works that are freestanding?

DB: Nothing freestanding, but you’re right, lately I keep adding more and more layers to the paintings. It’s a different way of looking at the composition and construction of an image. I bought a scroll saw a few months ago and I just can’t get enough of it! 

WS: Do you follow the work of other artists - If so, who?

DB: Not as much as I should. First and last Thursdays and Fridays freak me out. I’m like a weird art hermit. I live in my studio and I only go out to walk my dogs. 

WS: Is there a person(s) who has contributed to your focus on art and/or have taught you something that directly affected your work?

DB: This last series was very inspired by my Grandmother Berkvam’s rosemaling, which is a traditional Norwegian decorative art. It’s a floral kaleidoscope design similar to what I did with these paintings.

This is one of his Grandmother's plates.

WS: Can you tell me about your booklet “Who Killed Cock Robin?” (how and/or why it came about?)

DB: I read a book called “Sparrow” by Kim Todd (part of the Reaktion Books animal series) and she described Cock Robin in detail. I re-imagined the story from the Sparrow’s point of view. I sent the author a copy of the booklet to thank her for the inspiration and she wrote a note back to me telling me she loved it.

WS: Ok, one more. Are you a doodler?

DB: If I wasn’t answering this question I would be doodling right now.



For additional information about this show or exhibiting your artwork, please contact me here.

All the best,
Wendy Swartz
Curator at Stumptown Coffee Roasters


Division Stumptown
4525 SE Division Street