Event Saturday, October 12 at 14:00 – 16:00: Theme afternoon with Anne Vilsbøll and Emilie Lundstrøm. Hear the two artists talk about their artistic materials and work processes.
What can plants do? What can sun do?
Common to the practice of the exhibiting artists is their preoccupation with making the invisible, visible, physical and tangible. They explore what a material can do by directing their creative energy into the origin of things in order to reach new realizations through the process itself.
For four decades, Anne Vilsbøll has researched and experimented with handmade paper as an artistic means of expression and is considered internationally and nationally as one of the pioneers who helped to renew the old craft into a contemporary art form. The common perception of paper as a separate support surface is intentionally blurred in Anne Vilsbøll’s art, where she draws, paints and forms with cellulose, derived from plants. The works at the current exhibition are the results of studies of what is hidden inside the paper’s space. Plants are transformed into organic web formations and foundations that are able to absorb as human skin.
Over the past five years, Emilie Lundstrøm has explored the expressive possibilities of the old alternative photographic process cyanotype, using sunlight to produce images. She experiments with the exposure time of the negatives and creates works on 2 – and 3-dimensional surfaces, for example. paper, stone, silk, concrete, marble. For Emilie Lundstrøm, the cyanotype process is what brings her closest to the experience of light and what light can do. A tactile and slow process in which the light of the sun is the helper for developing layer upon layer in her compositions. She uses cyanotype to create familiar objects that transform into abstractions through variations of exposure time from light to dark. In image exposures, Emilie Lundstrøm creates several opportunities for perception of the fabric, which you could call “stairs of light.”
Tanja Kirst has lent her UCHIWA CHAIR to the exhibition. Inspired by the Japanese fan the intention with the The Uchiwa Chair is to create a reference to the transformation from a closed shape to a chair that is useable both in – and outside. The project aims to create esthetical references to the Japanese concept of “mono no aware”. The overall sculpture of the chair is inspired by antique Japanese woodblock print of Morning Glory flower. The overlapping elements of the chair emphasizes the rotation found in blossoming.The fabric is jacquard handwoven paper yarn in a double set of wefts construction to create gradation. The wooden construction is made of laminated ash due to its flexible qualities and directional strength.The wooden construction is designed by Loui Emil Andersen and Tore Beck Carstensen.