Much of his work consists of creating electronic tonal images and thus his work contains elements of photography but is hard to pigeon hole. It is frequently a form of performance art with abstract photographic elements. Since 1966, Aamot's works have been displayed in Scandinavia, France (Paris),[5]Berlin (Germany), Brussels (Belgium), Venice (Italy), Moscow (Soviet Union and subsequently Russia), Kraków (Poland), the United States and Japan. His work can be found in several important public collections. Aamot has been represented at several international film and art festivals throughout the world.[6][7]
Aamot's electronic tonal-image work "Evolution" (1966) with music by Arne Nordheim was shown on Norwegian television in 1967.[8][9][10] "Evolution" represented a milestone of a new art form in which television for the first time was used as an independent picture-artistic means of expression.[11][12] Throughout the 1960s, 1970s, and 1980s, Aamot created a series of works for television.
Video art and digital photopaintings
Aamot became a controversial artist in the 1960s and 1970s.[8][9] From the latter half of the 1980s, he worked with computer paintings on canvas, digital photopaintings and graphic art. He has continued to make video and film art, often in collaboration with the painter and composer Bjørg Lødøen and the photographer, dancer and choreographer Kristin Lodoen Linder.
Blood and Earth, electronic painting, 150 cm × 100 cm by Rolf Aamot, 2008.
Television
"Evolution" (1966)
"Relieff nr.2" (1967–68)
"BSK" (1968)
"Visual" (1971)
"Progress" (1977)
"Structures" (1979)
"Medusa" (1986)
"Puls" (1986)
"Close cluster" (Nærklang) (1987)
"Expulsion" (1987)
Cinema
"Relieff" (1966–67)
"Kinetic Energy" (1967–68)
"Vision" (1969)
"Structures" (1970)
"Actio" (1980)
"Aurora Borealis" (1991)
"Tide" (2000)
"Energy" (2003)
"U" (2005)
"Ir" (2006)
"Wirr" (2008)
"Contra" (2009)
"X" (2010)
Notes
^Published by The Bergen Museum of Art[1] 1998: Electromagnetic energy shapes the colour/photone and curvilineartone span of tonal image art. The laserpower radiance of atoms. The imagetone quantumsystem turns everything into sinewy relations – signalling movement to all our cells. The body builds its world by psychophysiological images. We exist, and exist in, the infinity of perception – matter, identity, intensity, rhythm, and the logic of the cells of our bodies - opening towards the heterogeneous, the void and the exile. The tones of images are, like tones of sound, a unity of dream and act. The information value of imagetones are determined by their frequencies, span, coherence, pulseform, modulation and polarization. The directionality pulse of particlewaves are sinusoidal.Painting/Tonal Image with Laserbrush and Laserfrequency Palette (full text) by Rolf Aamot Archived 15 July 2011 at the Wayback Machine.
^Translation of part of article (with one illustration of Rolf Aamot's frescoes at the Natural History Museum in Oslo) in La Lettre de l'OCIM n° 77: 'The frescoes in the Paleontological Museum in Oslo - a special case'. In 1955 [sic] (competition 1953, frescoes finished 1955) a young student at the Norwegian National Academy of Craft and Art Industry, Rolf Aamot, was chosen, by means of a competition, to paint dinosaurs and other creatures of the Secondary (Mesozoic) Era on the walls of the museum. These paintings were originally meant to be an as exact reconstruction as possible, following the scientific advice of the paleontologist Anatol Heintz. Aamot's initial drawings were practically "naturalist reconstructions" but the artist were to let them evolve into a painting of "the soul of the dinosaurs". When contemplating these frescoes today the visitor experiences the same sensations as when facing any other work of art. These dinosaurs are first of all what the artist wanted to create, before being "representations". Rolf Aamot's frescoes are the testimony of an artist on a scientific subject.Emmanuelle Huet, Des dinosaures en représentation.
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