Hanne Borchgrevink is first and foremost known for her paintings of houses. The houses are simplified, like the distilled essence of a house. But it is not the motifs themselves that are the most essential in Borchgrevink's paintings. Rather, they serve as tools for exploring how surfaces and colours can be composed: how nuances in colour and texture can alter the sense of space in a painting, how colour fields interact with one another, or how new colour combinations change the perception of a motif. It is this play between colours that plays the leading role in Borchgrevink's paintings. The exhibition at LNM will consist of both house and landscape paintings.

In recent years, Borchgrevink has reintroduced the landscape into her range of motifs. Landscape is not new in Borchgrevink's artistic practice, and it has never completely disappeared from her work. It is almost bold to take on landscape as a Norwegian painter, given the long and weighty tradition of landscape painting in Norwegian art history. Nor is it just any landscape motif she addresses in the LNM exhibition—it is the view over Stalheim. The view toward Jordalsnuten and the Nærøy Valley is considered one of the most iconic landscape motifs from the era of national romanticism: JC Dahl, Amaldus Nielsen, Thomas Fearnley, and Johannes Flintoe all painted and drew motifs from Stalheim. In the early 2000s, the English pop artist David Hockney also painted some motifs from Stalheim. Hockney has inspired Borchgrevink in her choice of colours in one of the woodcuts shown in the exhibition.

The works in this exhibition may evoke associations with the now largely forgotten landscapes of Eva Bull Holte from Telemark. However, where Eva Bull Holte (1922–1993) models form with light and dark paint to evoke depth, Hanne Borchgrevink allows the lines between the colour fields and the contrast in the colours to create the depth. In some of Borchgrevink's versions from Stalheim, it is only the lines and the placement of the mountain formations deeper into the image that create the sense of space. The colours recede behind one another through Borchgrevink's strict composition.

Author Per Sivle grew up a stone's throw from Stalheim Hotel, and the plot of his most well-known short story, "Berre ein hund" ("Only a Dog"), takes place at Stalheim. This short story played a role in her choosing this landscape as a motif.

She stayed at Stalheim Hotel some years ago and photographed the view. In addition, Hanne Borchgrevink writes: "My great-great-grandfather was a priest in Aurland and dean in Inner Sogn from 1846 to 1857. He left the calling the same year Per Sivle was born in Flåm. The border between the Voss parish, where Stalheim Hotel is located, and Aurland appears to have run right across the top of Jordalsnuten. So, in a way, I feel a kinship with the motif."

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Hanne Borchgrevink (b. 1951 in Oslo) was educated at the Oslo National College of Art and Design (1971–74) and the Oslo National Academy of Fine Arts in Oslo (1974–79), and she resides in Grue Finnskog. She has held numerous exhibitions at several major Norwegian art institutions, including Kunstnerforbundet, Bomuldsfabriken Kunsthall, and Lillehammer Art Museum. This summer, she could be seen in the exhibition “Space Making” at the Astrup Fearnley Museum and at the Baroniet Rosendal, in addition to group exhibitions in Vågå and Ål. In 2011, she was Festspillutstiller at Bergen Kunsthall.