OUT OF SEASON - in collaboration with Halfdan Trolle Krawack.

Halfdan Trolle Krawack is a trained architect, but also works with among other things art photography and drawing.In these four series, I have created photo works and Halfdan has in turn continued working on them with watercolour, drawing or collage. 

“Winter is not a season, it’s an occupation.” - Sinclair Lewis 

ICEBREAKER is an exploration and interpretation of the frailest existences - in the most unforgiving environments. The artists worked together to portray plant stalks left in the ice, first as a photograph and then in watercolour. We see them. Standing there like forgotten signposts in the white nothingness. In this way, ICEBREAKER is a portrait series of nature’s deconstruction, about something that later springs up again, ready for a new season. The images express what is left when everything else has been removed - both as expression and form.

 The plant material in the JOHANNES LARSEN series comes from the garden at the Johannes Larsen Museum in Kerteminde, Denmark. The artists have chosen to work with the same colour range used in certain Johannes Larsen paintings. Works like ‘The whooper swans take off’ and ‘Migrating Skylarks’ have been especially influential in their choice of colours. The artists strive to work in the same area of tension, between the poetic and the naturalistic depiction, which Johannes Larsen mastered.

Memory is a weathered combination of what we see and what we feel. Some memories are graphic and clear, while others are interwoven in the spider web of memory. THE PHANTOMS is founded on this duality. This series is thematically related to ICEBREAKERS, but the artists have chosen to reconstruct parts of the plant material instead of deconstructing them.

These depictions are visual imprints in our memory. Therefore, the title and the stylistic choices refer to both the reconstructions and the plant material, as an echo of a forgotten time.

RECREATION is based on a series of tableaus from the American Museum of Natural History, in New York, which depict stuffed animals in their so-called natural surroundings.  The artists photographed selected tableaus, and then rearranged the animals and surroundings, using collage, printing and drawing.

A double construction of nature appears, where the original curation of the tableaus is subjected to a poetic categorisation. Traces left behind by the process emerge as calculations, markings and tape remnants, so both the motif and media speak of recreation.