Painting mainly with oil on canvas, my work is idea based and I work in series.
My series Painting my nature of nurture is conceptually based and following text is part of it:
I had an idea, but someone interfered. The installation ‘Painting my nature of nurture’ appears to be linked with an autobiographical origin, a family photo, yet each canvas seems to expand, dissolving between scientific and nostalgic imagery. I had an idea, but someone interfered. Each canvas began with the same imagery of a child riding a rocking horse, frozen in time, and entangled in a honeycomb-esque structure of a blastocyst. A blastocyst is a structure formed in the early embryonic development of mammals. I had an idea, but someone interfered. An electron microscopic image of an embryo is inserted in the upper left corner of the canvas. I had an idea, but someone interfered. Although each canvas had the same template, each is different and represents my own process of painting and those changes caused by the environment around me. I had an idea, but someone interfered. It represents my contribution of responding to comments.
Text on the floor in the installation of the MFA Degree show:
rocking horse. You need to paint it lighter or hang the photo next to the painting.’
In the Eidola series, I use sections of photos as reference. Focusing on mediation, scale, figuration and abstraction. The process of painting is executed in the way it is to hinder instant recognition indicating the idea that reality is illusion. I focus on translating scientific works modelling a kind of behavior into classic painting. I painterly explore the perception of something being there and not being there simultaneously like quantum physics.
In the series She, I paint people, more specifically women, using film stills as reference. The series is a feminist investigation that emulates angles of Judith Butlers’ Gender Trouble. I investigate how we reflect on ourselves in and distance ourselves from others. As subjects, contours and surfaces dissolve, hints of distant memories emerge. Focusing on links between figure and ground, representation and abstraction, the series explores the relationship between reality and illusion, or reality as illusion, entering the tension between painting and reality into a compelling dialogue with the cinematic space.
In my series The Simultaneity of the Non-simultaneous, I study the concept of time and representation based on a historical aspect. Through site-specific paintings, I studied the interior of the museum as a potential for new paintings through several layers of mediation – from mirror to photograph taken from different ‘points of view’ and finally to the media painting. Based on own photographs, I transformed the museum environment into textured oil paintings. In contrast to mirrors and photos reflecting reality and not being subject to time, my paintings are slowly evoked images: There is a perceptive delay. The paintings take time to create, perceive and mentally gather. Furthermore, my paintings can be compared to 'mirrors taken out of the frame', whereby retained 'moments' can be moved in space and in time. Some paintings reproduce the mirror in its original size, while others are scaled up so that they can exert a kinesthetic impact on the viewer.
This exhibition shows pictures from her series Identity and Relations in which people are presented as seen from above. A snapshot of life observed from an unfamiliar perspective. In Identity, every person has his or her own canvas and background colour. In Relations, an interaction between several persons is depicted. How do you read situations and persons seen from above? Could there be some comment on modern self-reflection? Is it a way of showing the tendency toward individualization in society? Or can one read the pictures as a comment on our surveillance culture?
In my Everyday life series, I have been portraing ordinary persons living an everyday life. I tried to portray the individuals' identity. Where is our identity? In the naked body or clothing, - or is it the face we associate with identity? All paintings are based on own photographs and almost all the characters are painted life-size. I painted on material as tarpaulins, plastic, fabric.
'The family' Jeg har arbejdet med at undersøge menneskets identitet i en familie. Fra hver familie er der udvalgt en repræsentant for hver generation som alle stå i direkte linie med hinanden. Hver person er malet på sin egen kraftige plastik og ophængene er sat op med 40 cm mellemrum. Plastikken bøjer ved fødderne, så illusionen om at personerne stå bliver forstærket. Den ældste generation er placeret bagerst, den yngste i forgrund. Alle personer i opstilling ses, om end de bagerste lidt sløret af de generationer der ligger foran. Tidsperspektivet ligger i intervallet mellem plastikarkene.
Nudes I have tried the identity further by painting naked people 1:1 on black fabric. Six people are painted on each of their black fabrics and hung next to each other. All persons stand naked with parallel feet and loose arms and look directly at the viewer. Their own personal belongings are laid in front of them on the floor. How much of the identity is there in the clothes?
The identity survey has been expanded by portraying naked women who turn the viewer their back. The women in this group are of different ages and the body's change over time is clearly seen. The women are painted on black fabric. How much can you read the identity of individuals seen from the back?
The series Daily ritual depict people in private, intimate everyday situations. Moments of peeling off parts of the outer indentation and usually do not show to strangers: Bathing, putting on makeup, brushing teeth or sleeping. To support the reality of the selected situations, the image leaders are painted directly on relevenate objects such as mirrors or bed sheet. Some of the paintings are presented by incorporating real objects, in order to emphasize the importance of gravity. In the works painted on mirrors, the viewer is not only considered by the person pictured, but also mirrors himself in the unmilled part of the mirror. This implies that the viewer is involved in the work. The study of affencement versus mirroring in other people is being reinforced.
Sleeping people are portrayed on a bed or pillows. The portraits are painted on pillowcases / bed sheet or on cushions made of cement. Pillows are laid on low pods or directly on the floor, so the viewer looks down on the people as if lying in a bed or on a mattress. What can you read from a face of a sleeping person?
Tarpaulins: a project, where I have worked with man in public space. I have photographed random people's voyage in the streets of Copenhagen and then painted them. I have strived to reflect the rawness of the city by painting on tarpaulin. The use of the tarpaulin allowed me to mount some paintings in a corner, giving the paintings a spatial effect.