Exhibiton, FORMAT ARTSPACE, Copenhagen, DK.
In this context, Katalyse must be understood as the evocation and extraction of something hidden. A process that makes something visible that was previously hidden. The digital photographic process, which is a dissolution and analysis of data, is connected with the transformation of alchemy through "Solve et Coagola" – in English: ‘to dissolve and to coagulate’. The transformation takes place in the development of images through the work with the physical material – where transformation takes place on two levels: both the physical and the personal level. The object becomes an image – a mirror. Not a mirror that reproduces the world more accurately than before, but a mirror of the process that involves both the environment, the subjective and the digital method.
Couleurs du Nord
Exhibition,Clémentine de la Féronnière Gallery, Paris, FR.
In collaboration with: Maison du Danemark
Exhibition curator: Gabriel Bauret
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
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.
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.
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
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.
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
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