Atlas
Analogue colour photography, c-print on
Epson paper, mdf, metal brackets,
monitors, publication, post-its.
Dimensions varriable.
Excerp from solo exhibition Atlas at KHM Gallery,
Malmö, SE (2017)
The progression of the exhibited photographs, as you move through the gallery, follows a camera’s exposure over time: they start in the under-exposed and wordless, where all colours are driven out of the photographs. From black they will fade into grey. Then, rose and timid yellow would start to appear. Then green.
It would end in the narrator’s normal state — in the colour blue as a kind of balance. The intensity and hue of the colours are directly derived from daylight and the camera's exposure. The viewer's passage through the gallery would be a movement through a colour scheme and thus a movement through time.
“Consider the blue, you said, and released the colour from the sky”. After our fission, I carry myself into the blue again to become part of a collection and part of an atlas. The connection with the pictures is the body - the colour is the asset of light. If colour were a room in which I could lie, or my body was a room in which you moved. I’m waiting for the second it breaches. Hallelujah.
Analogue colour photography, c-print on
Epson paper, mdf, metal brackets,
monitors, publication, post-its.
Dimensions varriable.
Excerp from solo exhibition Atlas at KHM Gallery,
Malmö, SE (2017)
The progression of the exhibited photographs, as you move through the gallery, follows a camera’s exposure over time: they start in the under-exposed and wordless, where all colours are driven out of the photographs. From black they will fade into grey. Then, rose and timid yellow would start to appear. Then green.
It would end in the narrator’s normal state — in the colour blue as a kind of balance. The intensity and hue of the colours are directly derived from daylight and the camera's exposure. The viewer's passage through the gallery would be a movement through a colour scheme and thus a movement through time.
“Consider the blue, you said, and released the colour from the sky”. After our fission, I carry myself into the blue again to become part of a collection and part of an atlas. The connection with the pictures is the body - the colour is the asset of light. If colour were a room in which I could lie, or my body was a room in which you moved. I’m waiting for the second it breaches. Hallelujah.

Untitled (wave), 2017. Analogue, colour photograph. Inkjet print on paper, 100x100 cm

Untitled (interior) & Untitled (portrait), 2017. Analogue, colour photograph.
Inkjet print on paper, each 100x100 cm

Snylter (parasite), 2017. Post-it text fragments. (hvis ord er begyndelse)

Untitled, (torso), 2017. Analogue, colour photograph. Inkjet print on paper, 100x100 cm



Atlas, 2017. Publication. 68 pages, 13 unfolding “maps”
Made in collaboration with Tacet Press
Installation view. Circuit I and II

Circuit i / ii, 2017. Two video loops speaking different languages – one only in images,
the other only in subtitles.

Untitled, 2017. Analogue photograph. Inkjet print on paper, 100x130 cm

Cartography (ii), 2017. Analogue photograph. Inkjet print on paper.
Each frame 100x100 cm (total 200x200 cm)

Cartography (ii), 2017. Analogue photograph.

Diptych, 2017. Analogue photograph. Inkjet print on paper.
Each frame 110x110 cm (total 110x220 cm)

Diptych, 2017. Analogue photograph.

Diptych, 2017. Analogue photograph.

Cartography i and ii, 2017. Analogue photograph. Inkjet print on paper.
Each frame 100x100 cm (total 200x200 cm)

Cartography i, 2017. Analogue photograph

Untitled, 2017. Analogue photograph. Inkjet print on paper, 100x100 cm

Snylter (parasite), 2017. Post-it text fragments.
(hvis farve var et rum jeg kunne ligge inden i det, eller rummet du gik i var min krop)