Installation view from 2022 at Nikolaj Kunsthal, DK, photo by Jan Søndergaard
The Altorilievo Fight, 37 x 35 x 9 cm, 3D printed relief sculpture in HP MJF PA12, spray painted white, signed edition of 30
The Wrestlers - here examples of the NFT as global public sculpture
Next to the NFT ownership sits the CC License, meaning the AR and 3D files are given free as a Creative Commons piece
The Homage Niche, 2023
Installation of wool carpet and screens with film, 600 x 500 cm
The Shrine, 2023
Installation of audio, film, wool carpet, podiums, organza fabric and 3D printed sculptures, detail
The Shrine, 2023
Installation of audio, film, wool carpet, podiums, organza fabric and 3D printed sculptures, detail
The Standing Fight, 2022
22 x 14 x 14 cm, 3D printed sculpture in HP MJF PA12, spray painted white, signed edition of 7 + 2 AP - the 3D file is given free as a Creative Commons, these sculptures are the only signed versions,
The Wrestlers, 2021
NFT containing different 3D printfiles represented as a GIF, edition of 5 copies + 1 AP, Foundation
Next to the NFT ownership sits the CC License, meaning the AR and 3D files are given free as a Creative Commons piece
The Walk, 2022
NFT, high res film of 2.42 min, represented as a GIF, edition of 1 copies + 2 AP, Foundation
The Soft Gaze, 2022
Woven wool carpet, 400 x 400 cm, edition of 1
Installation view from 2022 at Nikolaj Kunsthal, DK, photo by Jan Søndergaard
Video interview by Mellow for Nikolaj Kunsthal (in Danish)
The Blood Fight, 2022
Woven wool carpet, 260 x 400 cm, edition of 1
My general work with this sculpture of the wrestlers in different media is part of a millennia-long Eurocentric tradition. My wresters take several different shapes from AR sculpture to 3D printed sculptures, tiny nano images, paintings, 2D prints, films and large scale woven wool rugs.
The oldest male version of the wrestlers is to be found at the Ufizzi - but it is itself a marble copy of the now-lost Greek original in bronze. With this “original” in mind my aim was to create a piece that could visualise an inner struggle like the one I had experienced at the birth of my first child and subsequently wished to process and change in preparation for the birth of my second child.
For me the two wrestling bodies came to symbolise this inner struggle. When I was pregnant with my second child, I began working on this female version of the wrestlers as a way of processing two conflicting emotions: anxiety and love. My first birthing situation had been dramatic and dominated by fear. An overproduction of the hormone adrenaline will typically prevent the body from releasing oxytocin, also known as the love hormone, necessary during childbirth and breastfeeding. Seeking to take control of my own body in order to make my upcoming childbirth calm and loving, I created the sculpture of the two wrestling women as a meditation object capable of accommodating conflicting physical states.
In the studio, when re-drawing the males into females, for me, the two bodies became avatars of oxytocin and adrenaline. In 3D drawings I would view the two avatars from all angles. I was able too see "the scene" from all angle and ended up manifesting a calm home birth far away from hospitals and medical procedures. For me, art is not just work, it’s a way of surviving. I take all important personal issues with me and bring them to bear in my work.
Dream Gradient (Mint Green Pink Meets Deep Rasberry), 2022, mixed media on canvas, 300 x 300 cm and
The Seven Standing Fights, 2022
7 sculptures of 22 x 14 x 14 cm, 3D printed in HP MJF PA12, spray painted white, signed edition of 7 + 2 AP
Installation view from 2022 at Nikolaj Kunsthal, DK, photo by Jan Søndergaard