Fanny studied illustration and has a BFA from The Art Institute of Boston. Her background as an illustrator shows in her work. She is influenced by the playful works of Japanese art, as well as the works of artists like Rose Wylie. She was born in 1971 in Oslo, Norway, grew up in New York, and currently lives and works in Maine.

Fanny’s art is influenced by the playful curiosity of childhood and the simplistic yet expressive characters of artists like Philip Guston. She loves improvisational theatre, and the way she paints is similar; spontaneously from a thought rather than pre-sketching. This allows the viewer to see hints of her process through exposed pencil marks, paint drips, and deliberate unpainted areas. Fanny starts her paintings by working flat on the floor, layering paint, and then drawing and doodling directly on the canvas turning it upright on stretcher bars or the wall. This also allows her to use her whole body when making the initial gestures.

I’m a beekeeper, and often include flowers and little monsters in my work. Yoga and meditation are my daily practice. Weaving all of these things together, my paintings become like this euphoric tapestry — an otherworldly, and magical place that I dream of being in. I take care of nature in a very Buddhist-like way; I especially love the tiniest creatures.

Like many of us, Fanny was looking for an escape during the pandemic. It was winter/early spring here in Maine, which means it was still dark and cold. She delved into painting these big, bright, and fantastical works. Unlike traditional illustration, the work became loose and free and in many ways Fanny felt as if she was reverting back to her childhood paintings, approaching the canvas as if it were a big sketch book. Her studio became like her bedroom at 8 years old – full of uninhibited imagination and fantasy. She felt she could go and be anywhere she wanted there.