Art in public space

Ryggrad, Tønsberg tinghus

Ryggrad (Backbone)

Public art commission for Tønsberg Tinghus (Tønsberg Courthouse)

-The Pedestal

The artwork Ryggrad is a visual narrative in which an abstracted bronze spine is placed upon a pedestal.
The pedestal itself forms the supporting element — both physically and metaphorically. It becomes an active co-creator of the work.

By allowing the pedestal to take on meaning, the work renews how we conventionally perceive art — not merely as an elevated object, but as a dialogue between what supports and what is being supported.
The pedestal therefore challenges the hierarchy of art: what carries, and what is carried?
It invites reflection on how art is presented and received, and on how objects acquire meaning through their presentation.

-The Spine

The inherent strength of the spine opens up multiple interpretations. It naturally relates to notions of structure, stability, and support.
In everyday language, the spine is also a well-established metaphor for integrity, steadfastness, and moral backbone.

In the context of the new courthouse in Tønsberg, the spinal column can be read in relation to the ideals the legal system is entrusted to uphold — where integrity and justice are central to the process of judgment.
It symbolizes the values expected to be safeguarded by a courthouse and its users, and suggests the necessity of standing upright when confronted with responsibility and challenge.

Terrazzo with Figurative Inlay

The pedestal and the circular base are made of red-grey terrazzo with figurative bronze inclusions.
Traditionally, terrazzo is a composite material consisting of cement, water, crushed stone, and pigments. Decorative fragments of stone, glass, or marble are poured into the mixture. Once cast, ground, and polished, it reveals a durable and ornamental surface with unique patterns and color nuances.

In Ryggrad, the conventional stone inlay is replaced by small bronze objects.
These elements whisper subtle stories about history and place through fragments of the past, present, and future.
They invite reflection and interpretation of layered themes such as memory, longing, and hope.
Through these embedded motifs — anchors, scales, seabirds, runes, laws, and traditional sailor tattoos — the bronze fragments contextualize the work within its environment, forming a visual mosaic of collective experience and maritime culture.

The red-grey coloration of the terrazzo references the local rock type Tønsbergitt, once quarried in the region and used in medieval churches and foundations throughout the old town.
By echoing this material, the artwork establishes a visual and material kinship with the courthouse façade, creating a deep connection between the sculpture and its architectural surroundings.

Conclusion

Ryggrad embodies the essence of memory and aspiration in a local context, materialized in a structure that celebrates timeless values such as integrity, resilience, and justice.
By anchoring these ideals within the physical and historical landscape of Tønsberg, the artwork inspires a sense of collective identity and universal understanding.