Between Heritage and identity

Myndin Nerdrum opens up about her creative journey, her inspirations, and what it means to be an artist of the future. When Art meet a Soul...

During the photoshoot first at Villa Inkognito, Myndin Nerdrum was sitting on a plush, gold-coloured couch, leaning back against a pillow with a tiger-stripe pattern. The interior of Villa Inkognito was absolutly wonderful. The room has a classic, elegant feel with wooden furniture and ornate details.

Her hair was in a low bun, and she wears a black strapless gown with a large ruffled detail on the bodice from Gaurav Gupta and a crystal necklace by Poem Object. Her expression seemed to tell a story, like in a movie from the 40s. It spoke volumes about how the mystery of her personality made her so iconic in her generation.

Talent Myndin Nerdrum 

Photo Åsa Tallegard

Photo Assistant Mads Suhr Petterssen

Dress Gaurav Gupta

Necklace Poem Object 

Style Vana Perisa

Make up / style Pauline 

Hair Preston hair

Myndin Nerdrum is a Norwegian classical figurative painter born in 1999. She debuted with her first painting at age 19, titled “19 års dagen” (“19th Birthday”). Her work continues the tradition of classical figurative art.

Exploring a legacy and the meaning of transformation with one of Norway's future generation artists.

Her work is as much about aesthetics as it is about philosophy. For Myndin, “rebirth” is not a topic, but a way of living.  A constant renewal of ideas, forms, and identities. Her vision, whether exploring the technic in art-making, redefining beauty through life, or reflecting on the human experience, Myndin’s vision is unmistakably contemporary. It’s rooted in timeless values yet fearlessly forward-looking..

 

Talent Myndin Nerdrum 

Photo Åsa Tallegard

Photo Assistant Mads Suhr Petterssen

Dress Richard Quinn 

Earrings  Brigitte 

Style Vana Perisa

Make up / style Pauline 

Hair Preston hair

Location : Sommerro House 

In a world where tradition and innovation often Collided, few artists embody the spirit of transformation quite like Myndin Nerdrum. Emerging from one of Norway’s most esteemed artistic family, she is not content to inherit a legacy. Instead, she is reshaping it ! With a creative language that seamlessly weaves together painting, fashion, literature, movies, and lifestyle. Myndin represents a new generation of artists who refuse to be confined by labels.

 

Talent Myndin Nerdrum 

Photo Åsa Tallegard

Photo Assistant Mads Suhr Petterssen

Dress Richard Quinn

Style Vana Perisa

Make up / style Pauline 

Hair Preston hair

Location : Villa Inkognito 

 

Myndin Nerdrum’s artistic style is rooted in the classical figurative tradition, characterised by a strong emphasis on emotion and the human condition. Her paintings often portray expressive, timeless figures and use traditional technics associated with old Masters. Myndin continues the legacy of classical painters—echoing her family’s artistic background—with clear influences from her father Odd Nerdrum, whose own inspirations include Rembrandt, Caravaggio, and Titian. These influences manifest in dramatic compositions, emphasis on narrative, and classical use of light and shadow.

”Where style meets soul”, an intimate conversation with Myndin Nerdrum 

·       Welcome, Myndin. Can you introduce yourself in your own words? 

Myndin :  I am a Norwegian painter and my work is made of the classical tradition.

My passion is to tell stories through mostly drawings but also paintings. In general I love literature, I love movies, and I love being out in nature.

Nature inspire me to tell stories, stories of universal archetype, archetypical experiences that are universal to everybody and that everybody can relate to.

·       What first drew you to art (even if you are from an artist family)—and what keeps you creating? Were there defining moments in your childhood that set you on this artistic path ?    

M :  I really loved the details of nature. To use a pencil and an eraser to create was something that just came naturally to me. “Nature”, I was two or three years old and I immediately loved recreating nature with a pen or with a pencil. In many ways it's more of a craftsmanship than anything else. 

When i'm crafting something. We're using logic in mathematics to understand distances, shadows and lights. It's much more about logic than feeling. 

You have to have some feeling too, but the logic is the most important. They are many mathematical solutions in the way our planet is made and how it works. As well as the sun, and how it evolves a lot. Without all in the moon and without all of these random circumstances, we wouldn't be able to be alive, so mathematics is a big part of the work as a classical figurative painter.

There’s this balance between logic and feelings. If you don’t have this balance, you’ll end up homeless or drunkard. We need both, reasoning and feeling in our everyday lives, and I believe it’s the same at work.

 I think passion through work can make someone truly happy. Because human being is striving. And i believe they want at least strive, because if you give a person everything that they wish for, they'll become deeply unhappy. You need to strive towards human beings that love to strive. Not suffering, but striving, because there's a big difference between those two. Some people think that striving is suffering, but striving is what takes away suffering in the long run.

With some people that want to become my students sometimes only for a couple of days, because I don't have a formal education. I was educated by my father, but other than that, I don't have a formal education, so I only take students for a couple of days to learn how to draw and paint, and then they have to go out on their own.  But what I think is very important is that we have a lot of artists who are in this world. 

In my childhood, I started going to church when I was 14 years old. My father wanted to go also to church. So we went to church every single Sunday for a whole year, and I learned so much. I thought that I'd found God. But I just could not. Stoicism felt more real to me. It felt more accurate, because I believe in being my own boss, being on my own, be my own leader. I’ve seen many Christian people become very unhappy because they relied on external sources of help when they were the ones who needed to help themselves.

  One of the things that my father told me, which I've always remember, was that knowledge is power. So if I have enough knowledge, I can live a happy life.

Before I mostly watched him paint with the other students and sometimes he commented on what he was doing to teach us. I mostly just watched my father paint. I believe that my father understood something about destiny. There were sometimes people that came to him and wanted to paint, but they were terrible at painting. And then he said, "I can see that there's something special and this person, I can see that they have talent. Even though they can’t paint, they’ve already reached stage one and become truly wonderful painters.”  I think that a common misunderstanding about my father is that he wants everyone to paint the same way like him, that is without restriction.  

My father never restricted me. Also on finding myself, he never restricted me. When it comes to the work itself, he never wanted me to change.
When I came to paint and draw, he never wanted his students to change either. He only talked about the soul of the metaphysics behind what we were doing and the philosophy behind painting. About drawing and technic, we had learn on our own, but I have a softer palette than my father.

How has that heritage shaped your view of creativity, and in what ways are you building your own distinct voice as an artist ?

 M :The most wonderful feeling I get from my work is after a hard day of labour. It’s like a really tough day of labour at work, but I also believe it’s very important to not overwork. You only work for a couple of hours a day, and you use your entire concentration on those hours. Most of the work happens outside of the workplace when you’re a classical figurative painter. You read philosophy, talk with friends, or go for a walk. All of these things help you build stories and make your work stronger because you have to use your brain all times. You have to be present all day. 

I love Stoic philosophy, particularly the epictetus and Socrates. They talked about being present and accepting the role that God has given you. Whether you’re beautiful or ugly, whether you’re poor or rich, you take the role and do the best you can with it. The Stoics also believe that you should never be afraid of life’s circumstances because everything is a part of nature. Fear stands in the way of you experiencing life. “reasoning,” one of the main principles of the Stoics, is about standing outside and looking at yourself from the outside and reasoning. In every area of your life, placing your feelings on the side gives you the opportunity to reasoning, but you still acknowledge yourself as a human being with feelings. There’s this balance that the Stoics talk about: the balance between the animal in us and the spirit that God has given us in this divine union. I love the Stoics because they came right before Christianity. Before any of that, Christianity is very based on Stoicism and has many of its principles, but the difference is that in Stoicism, you are God. I love philosophy and religion. I used to be a part of a Christian group where I learned many wonderful things, but I could never accept Christianity.

OPHELIA by Myndin Nedrum

 

·       How would you describe the emotional landscape of your work?

I’ve primarily focused on describing what it’s like to be a young woman in my artwork. This is because that’s who I am and I want to share stories about my experiences, feelings, and the universal experiences of being a woman. 
I want to share an experience life as a woman, and as a young woman. All the questions, and all the ups and downs. When I created the painting “Ophelia”, I was around 19 years old and it was that typical 19 year old girl drowning in her own feelings. I love that I can be able to tell these stories through technics. At  this age that I'm in now, I’m really just trying to learn how to become better and even more better. Many painters don’t reach their peak until they’re around 40. And when it comes to painting, that has been mostly the time I see with painters in their 40s or 50s, that’s when they reach their peak. So it takes a long time to learn not only how to be present while you work and to find sincerity in your work. It’s a journey to develop a technic, a story to tell, and to share my experiences of life as a woman, especially as a young woman. I want to talk about all the questions and the ups and downs, to be present enough to become a real master, and there are no shortcuts. Sometimes I make something that I can stand by throughout years and years, and I think Ophelia is one of those paintings. I wanted to represent myself throughout this, anytime.

 

Rebirth isn’t a trend, it’s a development … Myndin Nerdrum to The Rebirth Magazine

 

Talent Myndin Nerdrum 

Photo Åsa Tallegard

Photo Assistant Mads Suhr Petterssen

Dress Gaurav Gupta

Earrings Natasha

Style Vana Perisa

Make up / style Pauline 

Hair Preston hair

Location Villa Inkognito

 

·       What does rebirth mean to you, personally and artistically, in your own words? How does it connect to the art you create?

M : I believe " rebirth"  is one of the most significant stages of our lives. It occurs every time we wake up, and throughout our lives, learning new things also contributes to our "rebirth".

We are essentially developing and evolving. I would say that “development” is another way of saying "Rebirth", because I can't imagine myself ever stopping developing. 

However, many people, especially in the modern era, have stopped the rebirth process. They don't develop in the same way as they used to because machines now think for them. Consequently, we no longer experience the same sens of gratification from our own achievements, and the rebirth process has weakened. I also believe that new technology affects our confidence. Many young people lack confidence today because they rely on machines for help. 

We gain confidence when we learn something new or are reborn with new information, skills, and knowledge, all of which are subjects of rebirth. In my opinion, the most important aspect of my life is “development,” as there is no stop in our own or anyone else’s growth.

·       Can you recall a moment in your life or your art where you truly felt you were starting again?

M : About a year ago I came across this new way of thinking which was a friend of mine who told me about the everyday life and how important it was with the everyday life and I had never thought about that before. But it fixed so many problems in my life. I was suddenly able to pay my bills. I was suddenly able to sleep, to have regular meals because I was on a very fast train towards my goals. But I'd stopped to looking around, I'd stopped by for smelling the flowers, I'd just stopped by for living in the every day life.
When I painted “Ophelia”, I was much more into the everyday life because it was like the devil was in the details. Meditating on the everyday life has become the biggest and the most powerful tool in my work. Now I can actually work and have concentration.

·       In a time of rapid change, how do you stay rooted—and how do you allow yourself to evolve?

It's more about hard work. I think the most powerful I’ve ever been is when I’ve been able to sit in stillness. My biggest challenge is finding those still moments in life. Once I understood the importance of stillness, it started working more for me. It’s still very difficult because it’s one of my biggest challenges. 

I travel the world since I was 18. I dropped out of school and I was traveling a lot to many dangerous places as well. And i think that's when I learned.
I learned integrity because I understood what it felt to be in truly dangerous situations. I was in South America. And I was a little bit in L.A. as well. At that point, there was no way to stopping me from visiting places that weren’t exactly civilized.
In some places, i saw a lot of homeless people, a lot of drug people, and a lot of criminality, but when you feel like you're on a dangerous path to something, you suddenly wake up and realize the value of life, and that's what happened when I turned like 20-25 years old.
Around 22 years old, I started feeling more integrity. Integrity is important to me, because of different books that I was reading as well. I found it extremely important to learn that I've always seen myself as a young soul.
I’m incredibly curious about the world and everything that has happened in my life. It feels like I’ve never experienced anything like this, so I think this must be my first life. If there are many lives, this is definitely mine because I’ve never experienced anything like this before.

I don’t really know where I’m from, but I’ve heard that I’ve had a lot of lives. I’ve also heard that I have a lot of integrity. The woman I live with, who is almost like my mother, says I have a lot of integrity. I’m not sure if it comes from my life experiences.

I think you have to reach rock bottom in order to see and understand the stoic principles. One of the biggest principles is to use reasons and see yourself from the outside in every situation. There’s no time to be whimsical. I’ve realised that every decision I made was always thoroughly thought out.

Talent Myndin Nerdrum 

Photo Åsa Tallegard

Photo Assistant Mads Suhr Petterssen

Dress Gaurav Gupta

Style Vana Perisa

Make up / style Pauline 

Hair Preston hair

Location Villa Inkognito

Fashion, lifestyle, and the beauty of transformation with Myndin Nerdrum.

 

“Fashion is a language - as alive as painting or sculpture”

 

Talent Myndin Nerdrum 

Photo Åsa Tallegard

Photo Assistant Mads Suhr Petterssen

Dress Richard Quinn

Style Vana Perisa

Make up / style Pauline 

Hair Preston hair

Location : Vigeland park 

“my style reflects my philosophy and my paintings” Myndin Nerdrum

 

·       Fashion and art often walk hand in hand. How do you express yourself through what you wear?

M: Hmmm… It’s very black and white. If I go to a party on the weekends, I love to wear elegant dresses with some details.

Sometimes I prefer a clean canvas and then add something more detailed to a very simple dress..

I love the broke style. I love maximalism. I love lace and beautiful neon colors, like old pink, old rusty pink colors, sky blue, cream white, and just all these beautiful pastel colors that you can already see at Versailles castle. I don't follow trends, artistic roles and minimalism. 

I love the elegance and maximalism. I love the elegance and maximalism of the style during Marie Antoinette’s time. She was so wild with her fashion choices that went to the very roots of what was considered acceptable. That’s why she’s legendary – she broke the rules of fashion at the time, and that’s what I love about it. However, on an everyday basis, I only wear functional clothing for work. This is what my weekdays look like when I go to work.

Sometimes, when I’m going on a picnic or to a party, I want a dress. It either has to be very elegant, very chic, or Victorian-style. 

Do you see fashion as an extension of your artistic identity or as a part of your creative process ? and how does it connect to the art you make ?

M : I think it connects more to my philosophy of living than my painting and that universe. On weekdays I only wear functional clothes, that's the everyday life where I don't have time to be vain, where I don't have time to focus on something that has got nothing to do with me. It is the same way with painting as it is with my philosophy. In most of my paintings they is more grey areas than they is light and dark areas. the grey. areas are always in everyday life. It's often the middle tone between the darkest and the lightest. So in a way my style reflects my philosophy and my paintings. 

It can be confusing for some people. The messy hair and functional clothes have led me to be thrown out of stores on three different occasions. The reason was because I did not pays attention to get dressed. I had paints on my clothes and worn shoes that had been around for many years, wich made me look a bit homeless. 

You know, I had a painter’s dress from a Norwegian designer. I remember when I got it – it was fresh out of the box, and I’ve tried it so many times. I love it so much! I try not to wear it when I paint and draw because I don’t want to mess it up. When I’m in everyday life, I have to focus. I can’t have a single moment of thinking about my life. 

What I love about my work is that I’m able to stand outside of myself and my vanity, which every woman cares about how she looks. But there’s something very wonderful about everyday life, and it’s where I don’t have to think about that. 

·       Are there specific designers, fabrics, or historical eras that inspire your visual world?

M : my style icon that has always been my style icon must be Lucrezia Borgia ( prominent and controversial figure of Italian renaissance ). She was the illegitimate daughter of Pope Alexander VI and she was kind of the scandal of Rome because the Pope wasn't supposed to have children, but he had three children and Lucretia was known for being very scandalous, very central, very unorthodox, very beautiful and her clothes were too.

She wrote poems, particularly long love poems that are almost impossible to read today due to the archaic language used. It’s been a long time, but she was somewhat confined by her time. She was married to several lords for several months. She was always a captive of her time because she was a woman. Since she was the daughter of the Pope, she had to be married for political reasons. I think she was really well-suited to these wonderful historical clothes. She had the vulnerability to fit them, and I truly believe she was a great model for making them so great.

Talent Myndin Nerdrum 

Photo Åsa Tallegard

Photo Assistant Mads Suhr Petterssen

Dress Richard Quinn

Style Vana Perisa

Make up / style Pauline 

Hair Preston hair

Location Vigeland Park

 

Beyond aesthetic : Myndin Nerdrum on the deeper meaning of style, lifestyle and life as an artist :

 

”My journey as an artist, in one word : Becoming”

 

Talent Myndin Nerdrum 

Photo Åsa Tallegard

Photo Assistant Mads Suhr Petterssen

Dress Richard Quinn

Style Vana Perisa

Make up / style Pauline 

Hair Preston hair

Location Vigeland Park 

·       Could you share what a typical creative day looks like for you?

M : I do have a painting partner now, so it's a wonderful time to be in right now. I love portraits. So being able to paint or draw someone who wants to sit live for me and have conversations with my model. The exchange in a work environment is important.

I also try not to look for the stereotype. Many painters attempt to understand the stereotype of the person they’re portraying, but in my opinion, this takes away from the painting and makes it impersonal. It’s true that everyone fits into a stereotype, but I believe it’s more difficult to find the soul, the person behind the stereotype, behind the mask. Portrait making is challenging, but it’s almost like solving a puzzle.

When I paint or draw someone alive, I capture different moments in their face and eyes while I’m talking to them. It’s a wonderful and magical process. I have to be without judgement towards the model, as it’s happened to me in my career that I’ve had judgements towards them and it hasn’t worked out. Knowing that you don’t really know the person has helped me.

Philosophically, we have undeniable judgements towards people, but at the end of the day, we don’t truly know anyone or why they act the way they do. This strong contrast is evident in our constantly judgemental society. People who believe they know everything are often mistaken. Ultimately, we can only know ourselves.

Life is a solitary journey, and we can never fully know someone or their actions. We may glimpse a glimpse of understanding, but it's a challenging and ambitious task. Knowing someone is the reason why we should never have judgements.

What environments feed your creativity - nature, chaos, silence ?

M : It's mostly being with a single friend in nature, not too many people, just one single or maybe two friends being out in nature, connecting together.

it's the very simple moments in life, the very silent and simple moment that is the most imaginative. I've never found creativity in chaos because there's so much chaos inside already. I need to lower and pacify the chaos in order to draw something from it. 

I found a lot of inspiration in old Soviet movies because you have to look past the political aspect. Many of these films focus on themes of family, love, and fatness, which I enjoy.

 

Talent Myndin Nerdrum 

Blazer Alexandre Vauthier 

Shirt Prune Goldschmidt 

Pump Alexandre Vauthier

Style Vana Perisa

Make up / style Pauline 

Hair Preston hair

Location Sommerro House 

Video Preston hair

THE HAPPY BEAUTIFUL SUNNY LANDSCAPE 

I also like old Polish movies, although some of them can be quite slow-paced, requiring patience. Most of these old Soviet movies revolve around love and hope, even in the face of terrible circumstances. For example, a film about someone who comes from nothing and builds themselves up is particularly inspiring.

Another movie, which is about the Soviet, which is called "Burnt by the Sun" ( from 1994 and Oscar of best international movie in 1995 ). It was a saying back in the day when Stalin was after you. When he was, after you to kill you. They would say you were burnt by the sun because Stalin was the sun. And so that's one of my favorite movies. It's about a family we're Stalling take the father of the family to kill him, basically. And it's a very happy, beautiful family on the countryside of Russia, and everything goes downhill, from this very sunny, beautiful, on the country landscape. And throttbox the movie, the father of the family.
Know that he's going to die. And these subjects are almost not so pressured by Hollywood. When you see the history of the war and Soviet installments, so it's so extremely rich. And that movie really captures that feeling of that you're going to die soon. So it was a very captivating and a very beautiful movie. I'm very inspired by movies, but mostly some of these movies, especially “burnt by the sun”. A lot of those colors, the warm, tender colors from that family life that I use in my paintings as well. Where there's this little hint of melancholy throughout the world…The Happy beautiful sunny landscape. 

A portrait of transformation : Myndin Nerdrum redefines the intersection of technology and art 

 

“Technology should not replace emotion — it should expand it”

 

 

This portrait is Made with  AI technology to illustrate the interwiew with Myndin by seeing that picture. 

 

What do you think about AI ? 
How has technology—AI, digital tools, or social media—influenced your art?  Are you familiar with this technology?

M : I don't think that AI can create what I can create or any other painter. It's never going to have the spirit that, for example, Rembrandt or Caravaccio or Titian had. There is no way that robots can create a great painting. Only a human being can do that and that has to do with the human spirit. You can see the human spirit in paintings because there are several academies throughout the world with wonderful students who make wonderful paintings, but it's almost too good, it's too strict. In order to have soul and a painting, you have to have some defaults. There has to be a few cracks in the paintings. 

·       Do you feel tension or freedom by working traditional and/or between digital mediums?

M: Anyone who does a creative job today, or something that involves the spirit, like dancing, writing, painting, or singing, has to do it to be an example of the old ways. It’s hard to resist the allure of modern life, with robots and their thinking.

For us, we need to go backwards a bit and use old technics to improve our painting skills. I won’t use any AI tools, even though I sometimes use them for research. However, this technology has nothing to do with the creative process. 

·       If so, is there a digital tool or platform you feel especially connected to as an artist?

M: I use social media as a way to promote my work, and I believe everyone who does this kind of work should. I’ve been very fortunate because I’ve never been overly concerned with looking like social media models, trendsetters, or influencers. This is because I’ve been so stressed about my job as a painter. I genuinely wanted to be great and create something wonderful, and that’s been my main focus.

Because of this focus, I’ve never been consumed by social media or body dysmorphia. I’ve been very lucky in that way, but it’s important to use social media.

How does you embrace new tools ( from digital plateform to AI ) while keeping you work authentic and human ?

M : it is hard to find the balance, because  it's very easy to get swallowed up by the social.  But you just have to do it, you just have to be strict with yourself and any of these entertainment media like TikTok or YouTube, you have to be very careful with them to not get swallowed up by this fast entertainment.

LOOKING AHEAD

·       What are you currently working on—or dreaming of?

M : I’m eager to delve deeper into the world of anatomy and shadows. I aspire to learn from a master painter who can illuminate the craftsmanship behind figurative painting and drawing. Additionally, I dream of sharing my knowledge and skills with others, helping them to paint and draw. Furthermore, I want to spend more time in nature, taking long walks like the pilgrims to deepen my connection with the natural world. These walks would become spiritual journeys, allowing me to fully immerse myself in the beauty of the outdoors.

·       How do you imagine the future of art and identity? Since you are the future of art. 

M : I’ve noticed a resurgence of interest in classical figurative painting today. More people are drawn to the traditional approach of working with paintings, a shift from the popularity of abstract modern art in the past century. While abstract modern art has only been around for a hundred years, it’s still relatively young, and classical figurative painters are making a comeback. There’s a new Renaissance happening, and I can see it reflected in TV shows and social media. It’s great to see artists who have been overlooked in the art market, like the old classical figurative painters, gaining more recognition. This is important because it reminds us of the balance between mind and heart, logical reasoning and feeling, which are essential elements in art.

·       What message or feeling would you like people to carry after experiencing your work?

M : I think something that I realized in the last year is that it was almost like a spiritual download from god that my personality, my feelings, my body and everything that i am is a combination of all of my answers and all of my ancestors. This is something that came to me through meditation, and that i carry with me. Not only they are traumas and experiences, they are also wisdoms. But if i could live and stay meditative, and just listen to them as much as possible, i could actually listen to their advices. 

What do you hope your work will inspire in others ?

M : I hope that people will find a sense of ancestral voice within themselves by looking at my paintings and drawings. I hope they will feel a deep reasoning with all their ancestors, present in their bodies and minds today. 

I hope they will listen their ancestral part to reasoning and continue to build the new renaissance of old classical figurative way of painting and drawing.

Beyond Exhibitions and public works, what does creating art give you on a personal, emotional level ?

M : It gives me a chance to tell personal stories, which are actually universal and relatable. Since I love books and movies, it’s a continuation of that, but visually, it’s more mystical. For example, a painting has multiple ways of interpretation. A book or movie is more straightforward. However, I believe sincerity is the most important thing to use in my work. It’s very therapeutic. Without my work, I wouldn’t be able to stand on my own two feet.

Future vision and personal reflections

 

"My name is Myndin. In Icelandic, it means “painting”, it means “night,” which also means “picture.” Interestingly, it’s another word for our education, not an old one"

 

Talent Myndin Nerdrum 

Photo Åsa Tallegard

Photo Assistant Mads Suhr Petterssen

Dress Gaurav Gupta

Style Vana Perisa

Make up / style Pauline 

Hair Preston hair

·       What is one thing people misunderstand about you or your art?

M :  I think the biggest misunderstanding that I met about me and my work was about my decisions making that are derived from my feelings. Some think that I am kind of ruled by my feelings, because I do have very strong emotion. but for others, it is about this "femme fatale" saying people think. They think  that I'm a femme fatale who is very strong and who express strong feelings.

 This "femme fatale diva type”. People think that I'm like a femme fatale or diva but that is based on the strong emotion that I have. But in my opinion, I think that is the correct way of saying but this does not make me a "femme fatale". I think I've been called femme fatale or a diva a lot, but...as a way of compliment, or alpha female or something like that.

I try to always treat people like they're my equal. So even though I have strong emotion, and I often express my strong emotions verbally, or through paintings, or through writings.  you have to know, I'm a loving person. I love to show love to people as well, not to be overwhelming. So this alpha female or femme fatale or diva label is simply untrue because I am very logical. My whole day is about logical reasoning. That's what I think of most of the time to use reasoning instead of feelings.
Actually i always have been like that. But I think a lot of people when they meet a female painter or a female singer or a female dancer or anyone in the creative field, they immediately think, "Oh, she's a wild one." But some of us are actually very down to earth. I don't like to party. I don't like to drink. I don't have, and I don't.
I don't have many lovers, I don't have this film-photo character. I love film-photo women, but I will never be able to become one myself. They inspire you probably, but it's not who you want to be. It doesn't resonate with my personality at all. I think it's just because of what I do, the people think that I'm a film-photo. under eye and under eye. I am able to work the way I work with the intensity that I work with.

·       If your work could whisper something to the world, what would it say?

M : It’s this German saying that, “One human being has immaculate worth, no matter what you are made of.” It’s from Gründloven, which came right after the Second World War. So, it’s in the Gründloven, in the German Gründloven. I recently learned this. I’ve always thought that every human being has worth, and I have to love them in some way. And that there’s no class difference or worth difference between my models. Everybody has to be treated like they have immaculate worth. And when I heard this from Tysky Grinnov, it made a lot of sense to me. I think that is something universal and has to be said throughout all the centuries because we might forget the immaculate worth of one individual. So, that’s something I also want my work to say and be.

Last question If you could describe your journey as an artist in one word today, what would it be — and why?

M: I think it would have to be "understanding". Yes, "understanding" also means knowledge – knowing about things, people, and situations.

My name is Myndin. In Icelandic, it means “painting”, it means “night,” which also means “picture.” Interestingly, it’s another word for our education, not an old one.

It’s funny, but I believe names are your destiny. That’s something I’ve always believed in, and I think my destiny is to learn, gain knowledge, and pass it on. I know for a fact that we become our names.

Other than that, logical reasons is very important to me. But with the name thing, I just know there’s something more – something metaphysical, something beyond heaven and earth. I believe knowledge about the human condition is what my work is mostly about, and that’s my journey as well – to gain knowledge about the human condition and educate it.

Myndin Nerdrum for the rebirth magazine.

 

Thanks for this great moments Myndin during the iterwiew and on set. I think we are happy to have discover the real you. the one that is fascinating and inspiring. At the end of this interview we can already see and understand why you are so important for the culture of art,  not only artistically but also as a human being. Your Vision about the world around us is so inspiring for people but also for the young generation that is around you. The support that is around your work and you personally is well deserved and we truly believe that your surrending and loves ones understood the message behind that article. You are so unique and a true inspiration for a all new generation of artists. 

Thanks again for this invitation to follow your journey ( that we always follow). Also thanks the team for making the shoot and the interview possible with Myndin.  

 

REBIRTH MAGAZINE is a nonprofit arts and culture publication dedicated to educating, inspiring, and uplifting creatives

 

The Rebirth Magazine is a fresh, vibrant publication dedicated to celebrating creativity, culture, and soulful artistry. It shines a spotlight on emerging and established voices in music, fashion, and lifestyle — with a focus on authenticity, passion, and stories that inspire personal transformation and artistic rebirth.

Through in-depth interviews, thoughtful editorials, and stunning visuals, The Rebirth connects readers to artists who push boundaries, blend genres, and redefine what it means to create and express in today’s world.

Whether it’s uncovering a breakthrough artist like Myndin Nerdrum or exploring the latest in sustainable fashion, The Rebirth Magazine aims to be a source of inspiration and a community for those seeking deeper connection through art and culture.