151413121110090807060504030201AltarThe Nidaros Bishop’s robeThe Nidaros Bishop’s robeEllingsøy ChurchEllingsøy kirkeEllingsøy kirkeInnset Church, RennebuInnset kirkeKonnerud Church, DrammenKonnerud Church, DrammenThe Chapel of St. John the Baptist, Nidaros CathedralThe Chapel of St. John the Baptist, Nidaros CathedralJohanneskapellet i NidarosdomenPaintings for a CathedralI begynnelsenI begynnelsen - I domenSyndefalletSyndefallet - I domenNoas arkBabels tårnGullkalven (triptyk)Gullkalven (triptyk) - I domenBebudelsenBebudelsen - I domenFlukten til Egypt og Jesu fødselFlukten til Egypt og Jesu fødsel - I domenAgnus DeiNattverden (triptyk)KorsfestelsenThe ResurrectionOppstandelsen - I domenVest Agder Electric Power Company, KristiansandFaculty of Medicine NTNU, TrondheimSvartlamoenSvartlamoenRikshospitalet, OsloRikshospitalet, OsloRikshospitalet, OsloRikshospitalet, OsloMemorial for Bjarne NessIla School, TrondheimIla School, TrondheimIla School, TrondheimIla School, TrondheimInternal Revenue Office, South TrøndelagInternal Revenue Office, South TrøndelagInternal Revenue Office, South TrøndelagInternal Revenue Office, South Trøndelag
Innset Church, Rennebu

Old Innset Church burned down in 1995. Architect Kjell Kvernaas designed the new church as a replica of the former one from 1642, with cog-jointed pine logs. 

Also in the interior several features are reminiscent of the old church; the sumptuous altarpiece is a copy by the woodcarver Rolf Skogge, the chandelier and candlesticks are reconstructions of those lost to the flames. Yet in the new church, tradition is balanced with innovation; the architect invited Håkon Gullvåg and Håkon Bleken to create small paintings to set into recesses in the pew-ends, the pulpit, the organ and the gallery front. The motifs establish a pictorial sequence ranging from the Creation to Jesus’ Death and Resurrection. These contemporary works and the interior’s more old-fashioned elements function together in a successful way.

This project distinguishes itself from Gullvåg’s other liturgical decorations, not least because the works were subordinated to the dictates of the architect. Moreover, the commission was fixed with regard to the number of motifs, their size and placement.