ABOUT

August, 2017
Text and writing play a role in most of my work. Text is usually a central component no matter what the subjectmatter or chosen media. (text on the side of a truck, a snapshot of a paused screen with the perfect subtitles, a weaving, a letterpress print, a ceramic sculpture or a performance) I consider weaving as a sort of writing, and sometimes I think of writing as driving and a sentence a convoy. In my woven works, digital or handwoven, I do not work with image-reproduction on a figurative or representational level as such but more so on a structural level. In a series of work, I have dissected the construction of a textile down to the last and smallest unit/pixel/thread/binding, wanting to disclose the architecture. I consider weaving as a form of 3D writing. When for example the words ‘under’ and ‘over’ are woven into the work, they speak to the structure of the weaving and the movements of the threads around each other. When words like ‘anxious’ or ‘body’ are written and woven in, they, to me, act as equal components and become and integrated part of the (textile) system. 

June, 2017
Mothers have no needs

December, 2016
Jeg kan ikke formere mig under de her forhold.

May, 2016
Through my works I consider the complex relationships we as individuals have to the social, psychological and political landscapes we navigate. I have a special interest in the construction of text and textiles, and the structural grid as a place for the body to navigate.

June, 2015
The surface is where something meets something else. Where something vibrates. Where emotions and all that comes before language, meets words, materials and systems.
The surface is a place in struggle.

Words are woven and through the repetition of words, patterns and textures appear. Textile is created by threads, interlacing over and under each other. There are two directions. The treads can interlace in many different ways and the language forming the possible combinations are called bindings. A binding is a system in itself.

March, 2014
Mine værker er tekstbaserede, siger jeg ofte, når nogen spørger til min kunst og min praksis. Derefter giver jeg et eksempel. Måske fortæller jeg om lastbilen. Måske fortæller jeg det, som det er. En lastbil. Med tekst på langsiden. Som kørte i ring. I to timer.
Måske fortæller jeg, hvad der stod på bilens sider. Eller måske fortæller jeg i stedet om kartotekskassen eller lejlighedssangen. Om sprog og gennemsigtighed. Magt og gentagelser.

Men at sige noget er ikke altid uden komplikationer. Ikke altid til at få sagt rigtigt. Og det bevæger sig hele tiden. Så siger man noget, og står pludselig der med løsrevne sætninger mellem hænderne, forelsket i sproglige konstruktioner, men hvor værker, relationer eller hverdag ikke længere er til at finde. Som med tekstbaseret. Så står man der og har sagt det.

Måske jeg i stedet skulle vende rækkefølgen om og sige: Mine værker er relationsbaserede. Jeg kunne fortælle om min første kæreste, om min mor, min far eller om hende jeg er forelsket i. Eller jeg kunne lægge ud med at fortælle, at jeg engang brugte min tantes lejlighedssang i en udstilling, fordi den var det mest poetiske og ægte, jeg længe havde læst.
Endelig kunne jeg sige, at mine værker ofte handler om at sige noget. For så at se, hvad der sker, når jeg har sagt det.