It would have been unimaginable for the young Norwegian artist Per Barclay to have escaped the influence of Edvard Munch (1863–1944). And in fact, there are numerous allusions to Munch in Barclay’s work: the dramatic use of color, the apparitional figures, the juxtaposed planes of vision. It matters little that the materials used and the expressive formulations are diverse; one breathes in the same atmosphere, laden with symbols and apprehension.

In Barclay’s work there is no formal separation between painting and sculpture. Both are utilized in an articulate esthetic declaration that is not