In her practice, Ann Iren Buan (born 1984) explores the notion of decay and destruction through drawing and sculpture.

In her exploration of the drawing as medium, she is interested in both its limitations and possibilities. The works are monumental, and bears visible traces from a long process. She pushes the nature of the materials up to the limit of collapse; in this borderline state, the works insist on their physical presence.

Buan’s artistic practice involves a cycle of decay and renewal. After ended exhibition, works are often used as elements in the production of new art works. The sculptures become both survivors and foreign bodies. With their massive, yet light, sophisticated and fragile presence, they reinforce and put pressure on the rooms they appear in. They are never total in their abstraction, but mirror something from life - a person, a landscape or a piece of skin.

In the Vigeland Museum, Buan shows new works made for the museum's unique exhibition rooms. The colors of the walls, the ornamental floor tiles and the architecture of the rooms has influenced the process towards the exhibition. An essential part of her practice is the dynamics that arise in the relationship between work, body and exhibition rooms.