hammered sheet metal and a porcelain vase; activated as percussion by rainwater leaking through the ceiling.
Untitled (Wet memory) – acanthus patterns drawn with watercolour on a wall where rainwater gradually erased it – the respons was to remake or maintain it.
Over time this caused the pattern to enter a process of metamorphosis. Cycle of 12 times over 10 days.
– Relentless pouring rain informed these works and the augmentation of the structure. The rain activated hammered sheet metal as percussion, erased watercolour drawings on the walls and soaked the oak sculptures.
My exhibition and interventions to the building and site was later inherited by Ingrid Furre – continuing the process, while blurring authorship, agenda and context.
Skaus, an exhibition project by Markus Bråten, Mari Kolbeinson and Håvard Sagen. Inside and outside a structure built behind TOU scene in Stavanger.
Images by Andreas Amble & Håvard Sagen (Skaus)
sheet metal on metal frame – 200x200x17cm
beech wood, copper, foam and wool fabric – 279x85x56cm
copper and sheet metal 86x34x14cm.
paper, sheet metal, beech and cherry wood – 61x95x15cm
watercolor, mdf, mountingboard and sheet metal. 87.5×67.5x6cm each.
Cherry wood and sheet metal – 136x51x39cm – 2019
Sheet metal, enamel paint, rivets on steel frame. 160x160x40cm
cherry wood and sheet metal 145x32x52
sheet metal, rivets and watercolour in Heavy petal at Johanne Gallery in Frankfurt AM
A retro-fitted building, repurposed for various functions over decades, while still retaining some of the marks of its previous use. Like a fragmented character of a Samuel Beckett story. The material accumulated between 2014 and 2016 and led to two exhibitions. As a projection of a fragmentet personality onto a building structure, a fragmentet building with a personality; a house for a house to live in. In its two iterations the works that where shown spanned across painting, sculpture, installation, video, sound and five booklets/fanzines.
Through a process of sampling and abstraction of formal qualities, a referential and anecdotal game was formed. Not aiming of objectiveness: This was a play, a play and a psyche that knows that all it thinks and feels is true, while also questioning the possibilities of existing. A relational challenge among versions of oneself: “I am not one?!”
The stage like sculptures where based on a collage process, blending characteristics from within the building, in an attempt to make new abstractions while embedding certain qualities and feelings from the original building in Malmö. The emerald green staircase rising up from the entry hall with marble tiles glued onto the plaster walls so that clients of the now long abandoned dental clinic would feel comforted by the assumed presence of wealth. The neon light and turquoise green staircase did not attempt such theatrics, leading you down to the basement with soft cork covered walls, warm lacker, slanting walls which abruptly merged with the ceiling and accompanied by the deep hum from the boiler room.
The exhibitions were presented at Project Room 1 KHM and IAC Malmö.