Katalyse
Exhibiton, FORMAT ARTSPACE, Copenhagen, DK.
Year: 2020
Katalyse skal i denne sammenhæng forstås som fremkaldelse og fremdragelsen af noget hidtil skjult. En proces som gør noget synligt, som før var gemt. Noget, der potentielt er tilstede, latent eller immanent.I en kombination af computerteknologi, databehandling og et åbenlyst fodfæste i fotografiet, hvori stilleben ”Nature Morte” udgør en afgørende rolle, har Kruse Serup skabt en ny række værker. Den konkrete metode er 3D scannings-teknologien Photogrammetry, hvor mange hundrede fotos til sammen skaber en 3D form ud fra det fotograferede motiv. Teknikken omdanner fotografierne til data, hvor fotografi ikke længere er et medie, der repræsenterer noget, men er sit eget materiale – som en simulation af virkeligheden. Her forstås fotografiet ikke længere som et todimensionelt slutprodukt, men fungerer også som et værktøj til at indsamle data med. Men hvad viser denne data? Vi eksponeres for billeder, produkter og indtryk, der er kommet til verden med data som råstof, og rejser spørgsmål som: Hvad går der tabt i transformationen, og hvad får vi øje på i den nye repræsentation? Afviger denne mellemvirkelighed fra vores tidligere forståelse af materialitet og oprindelighed?
Den digitale fotografiske proces, med sin opløsning og analyse af data – forbindes med alkymiens transformation gennem nedbrydelse og opbyggelse ”Solve et Coagola” på dansk "at opløse og at samle". Med udtrykket menes, at man først skal nedbryde de stoffer, man arbejder med, og opløse de elementer, der findes i dem. Derefter skal man samle elementerne på en ny måde. Transformationen sker i skabelsen og fremkaldelsen af billeder gennem arbejdet med det fysiske materiale, hvor transformation, foregår på to niveauer: både det fysiske og det personlige plan. Katalyse konfronterer os med det, der ligger mellem natur og menneske, ikke som en simpel dikotomi af modsætninger, men som en kontinuerlig skabelsesproces. Igennem en arrangeret blomst, et net, peger værkerne på konstellationen af kendte objekter og symboler, som indeholder skjulte verdener og betydninger. Heraldiske symboler og botaniske portaler, der ofte indgår i facade-ornamenteringer i historisk bygningskunst, indgår som inspiration i værkerne, hvor raffineret symbolik fremkalder gådefulde og dybsindige associationer.
Installation view, 2020.
Installation view, 2020.
Citron, Laser-etched polished silver, 80 x 80 cm. 2020.
Solsikke, Laser-etched polished silver, 80 x 80 cm. 2020.
Installation view, 2020.
Untitled Relief, Plaster, 80 x 80 cm. 2020.
Untitled Relief, Plaster, 80 x 80 cm. 2020.
Installation view, 2020.
Untitled Relief, Plaster, 80 x 80 cm. 2020.
Untitled Relief, Plaster, 80 x 80 cm. 2020.
Untitled Relief, Plaster, 80 x 80 cm. 2020.
Couleurs du Nord
Exhibition,Clémentine de la Féronnière Gallery, Paris, FR.
In collaboration with: Maison du Danemark
Exhibition curator: Gabriel Bauret
Year: 2020
Three Danish photographers, Astrid Kruse Jensen, Rosalina Kruse Serup and Myne Søe-Pedersen. Exhibition presented in the Galerie Clémentine de la Féronnière in collaboration with the Maison du Danemark and in association with the Lumières Nordiques event
Installation view, 2020. Photo by: Benoit Eliot.
Installation view, 2020. Photo by: Benoit Eliot.
Calculations
Exhibtion: Ung Dansk Fotografi 2019
Exhibiton Curator: Anna Krogh
Year: 2019
Calculations are focused on digital translations of natural objects through well-known genres in photography the still life. Photogrammetry makes it possible to generate three-dimensional objects from two-dimensional digital data.
The photographs no longer serve as an end result but become a tool for collecting data of the 3 dimensional objects. Still life Calculations explore the technique of UV-mapping, which shows the texture of physical still life arrangements, and are therefore re-arranged by the algorithm in 3D program and explores the relationship among human and machine.
Calculations III, 80 x 80 cm.
Calculations IIII (80 x 80 cm)
Calculations IIII, 80 x 80 cm.
Calculations I, 80 x 80 cm.
Calculations II, 80 x 80 cm.
Installation view, 2020.
Installation view, 2020.
Landscape Formations
Graduation Project, Royal Danish Academy
Year: 2020
http://landscapeformations.rosalinaserup.com
Landscape Formations explores the potential of the photographic technique photogrammetry in the interdisciplinary field of design, photography and science. The technique is used by scientists to collect data from nature. Photogrammetry makes it possible to generate three-dimensional objects from two-dimensional digital data. Representations of nature influence the way we relate to our natural surroundings. On this basis the aim of the project is to explore new representations using digital techniques without losing the physicality and tangibility of the represented natural phenomena. No attempt is made to hide the traces of the digital process, in this way the man-made character of the design is exposed. The objects are hybrids; simultaneously digital and analogue, photographic sculptures and functional design. The physicality of the represented natural phenomena is preserved through the translation from two-dimensional to three-dimensional.
Photogrammetry of Stevns Klint. The small white triangles indicate where the camera was placed. Render by Rigsters.
Primavera
Book
Year: 2018
We are now living in the Anthropocene epoch. This means that the impact of humans on earth is now geologically visible. During the spring of 2018 I did a project where I travelled from the north of Zealand to the south of Lolland photographing the danish ditches alongside the roads. In recent decades the landscape has changed a lot due to the agricultural industrialisation. This has resulted in decreased biodiversity in the landscape and ditches often indicate this decline. The outcome of the project has become a photographic collection of the Danish ditches of 2018 in a publication.
Flora in Situ
Exhibiton, CAN Family Gallery, Copenhagen, DK.
In collaboration with: Poppykalas
Year: 2017
The exhibition Flora in situ is a collaboration between artist Rosalina Serup and Florist Poppykalas. It consists of a number of photographs of flowers. Flowers are performative because they used to express feelings between sender and recipient. Flora in situ tries to play with the symbolic flowers in contrasting contexts in the hope of creating new meanings.The flowers have been staged in places as construction sites and dumps in a combination of raw materials such as plastics, presses and waste. Flora in situ is thus an attempt to let a new form of meaning arise between the symbolic flowers and viewers.
Still Life
Photography
Year: 2017
Dive
Photography
Year: 2016
Man-made landscapes often presents a unique and almost paradoxical property; without humans in them, without living and moving people, they seem static and almost alien. In this case, the pools shows its perfect geometry and otherworldly blue colors and loses a dimension and becomes flat. The beauty that we see, comes from the disruption of this stillness. Kids jumping in the water, creating reflecting ripples, leaving behind red rubber mats, as traces of play. The agile bodies, piercing the air and and reconquering the third dimension.
Places We Meet
Photography
Year: 2016
Solar System
Photography
Year: 2017
Maspalomas
Photography
Year: 2017
Leftovers
Photography
Year: 2015
Spectrum
Photography
Year: 2017
Ongoing Vases
Project year: 2016–Present
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