Atlas

<sub>Analogue, colour photographs. C-print on
Epson paper, metal brackets, mdf,
monitors, notes on post-its, and artist book.
Dimensions variable.

Installation view: KHM Gallery (Malmö, SE).</sub>


<sup>“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 colours 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.” (from Atlas, artist book, published by tacet press).


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.</sup>

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


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


Snylter (hvis ord er begyndelse), 2017. Text fragments on post-it


(detail) Untitled, (torso), 2017. Analogue, colour photograph.
Inkjet print on paper, 100x100 cm</sub>




^{Atlas, 2017. Artist book (68 pages, 13 unfolding “maps”)
Edited and printed by Tacet Press}

^{I’m translating all the time. In order to communicate, I’ve got to translate. It’s quite simple. This text moved from Danish to English. I constructed a video sequence with this in mind. The material consisted of recordings of starlings hunting insects; these birds turned up in home videos that I got from my mother. The chattering of starlings moves rhythmically, as if the starlings were one collective body. Whenever the chattering took on what I understood to be a solid form, I would pause the video and take a picture. I did this until I only had solid forms. Subsequently, I put the pictures in motion, animated them, and created a new rhythm. A ritualistic, repetitive chattering of starlings. A visual language, displayed on a screen, in a short loop. On another screen, I had another circuit, a chattering of words moving forward as a wave. In this manner, the two screens try to sustain a conversation about the circuit, albeit it becomes interrupted by the difference between languages, in the internal genesis of the misunderstandings.}

^{Circuit I, Circuit II, 2017} 






<sub>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)


(detail) Cartography (ii), 2017. Analogue photograph</sub>




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


(detail) Diptych, 2017. Analogue photograph




<sup>(detail) Diptych, 2017. Analogue photograph




(from left) Cartography II and I, 2017. Analogue photograph. Inkjet print on paper.
Each frame 100x100 cm (total 200x200 cm)</sup>


(detail) Cartography I, 2017. Analogue photograph




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



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




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