Atle Østrem has returned to Stavanger after 11 years in Oslo.

The muralist and fine artist finds himself in the right place at the right time – a flourishing career, a new high-profile street art festival to co-direct, and a commitment to family that anchors him in this city he was born and raised in. Formerly a graffiti writer and owner of a graffiti supply store, Atle is represented by galleries and creates a dynamic blend of urban narratives and personal expression that delves into humanity and society, often with hidden undertones. His unique characters, a fusion of humans and monkeys, serve as enigmatic messengers with possibly profound stories.

Artley’s iconic characters originated from his graffiti days in the early 1990s, when he first experimented with illustrated characters as street tags. Following an arrest in 1999 that momentarily halted his graffiti endeavors, Atle channeled graffiti’s energy into a new form of expression, resulting in his hybrid characters. He employs them to prompt contemplation of modern dystopian themes and everyday idiosyncratic ones as well.

“I think for me, graffiti was like an adventure. There were many elements – the actual painting… Like, it was my whole life, you know. Back then, when I was a youth, graffiti was exciting. You’d have to find walls, and scope out the situation. I painted on trains also, so I’d have to scope out maybe the train yard, and see if there are any security guards there. And you would have to do it at nighttime. You’re sort of living like a double life because you don’t tell everyone that you’re doing it. The whole thing was like an adventure for a period of my life. Working in the studio the artwork allows me to get the satisfaction out of self-expression. Yeah. My thoughts or my feelings get an outlet – and I can put them into my painting.”

Themes of control, individuality, and a looming dark forecast for humanity reappear throughout his paintings and popular prints. Characters appear as puppeteers and puppets, representing power dynamics and coerced conformity. In “Dystopia,” for example, he portrays a bleak, controlled society contrasted against a vibrant backdrop, inviting introspection on societal norms, surveillance, and individualism.

Transitioning from graffiti to canvas enabled Atle to infuse his personal emotions and narratives into his work. This theme reverberates through his art, reflecting a sometimes delicate balance between control and freedom, power and vulnerability. His experiences as a father are a recurring motif, highlighting his son as a pivotal force within their family dynamic. One canvas, called “Mover and Shaker”, appears as a family portrait to illustrate his current state of mind with a 2-year-old in the house.

I try to use humor in my work as well. So I think of myself now as a father with a small son. Whatever my son wants to do, you do. He’s the mover and the shaker of our family. It’s chaotic at times to have small kids,” he smiles. “So I think that’s where the title and text comes from. It’s like ‘whatever he says, goes.’”

In this Nordic city of around 130,000, Atle Østrem’s artworks enjoy popularity among the skateboard and graffiti community and older audiences turned on by the rebellious spirit and a bit of counterculture. His meticulous attention to detail, deliberate strokes, and vibrant color palette resonate with audiences. The character’s expressions arouse curiosity, while text and symbolism add layers of storytelling – all without overt confrontation.

Atle views his artistic journey as adaptable and transformed, evolving from a graffiti artist to a fine artist and adjusting from a nocturnal painter to a family-oriented creator.

“I had been used to sleeping late – maybe waking up at noon, you know?” he says as he describes incorporating childcare into his art-making routine. “Now I get up earlier, and I take my son to daycare. Then I go back home, eat breakfast, have a nap if I’m tired, work in the studio for two or three hours, go pick up my son, and pick up my girlfriend from work. We eat dinner together, have a few hours to play with my son, and stuff like that. And then I can work after he has gone to bed.”

This ability to navigate both the weighty, serious characters in dark worlds and the nuances of familial bonds is a testament, perhaps, to his resilience. It may be the influence of all the reality-TV programs that he listens to while painting.

“I’m a huge fan, or not a fan, but I like reality shows,” he admits a bit sheepishly. “Yeah. Like drama, like where people are arguing and stuff. We have Scandinavian versions of shows like the American ‘Survivor,’” he says.

“People form alliances, and they try to vote someone out, stuff like that. I love that. It’s sort of like brain-dead television. You don’t have to watch the screen all the time. – just whenever some people are shouting at each other, now it’s something exciting. You glance at it a little bit, and then you can continue working and just listen to it. I also listen to music – I always listen to something while working.”

From his past struggles with Norway’s anti-graffiti laws to his present role as an artist, organizer of the “Nice Surprise” street art festival, and family man, Atle’s evolution is evident and impressive. His humor-infused artworks encapsulate a spectrum of emotions and viewpoints if you care to decode them, inviting viewers to explore his unique view of the human experience.