The exhibition offers a variety of art experiences - but still gives just a little look into the diversity that lies behind the artist names Lærke Lauta, Christina Hamre, Christina Augustesen, Anne Marie Ploug and Katrine Hvid. A little insight into each of the five prominent artists' production. An exquisite selection of appetizers .
The five artists each have their own distinctive idiom, each their grasp on the materials and each their back catalog of ideas, sources of inspiration and collaborators. Nevertheless, the works that can be experienced at this exhibition also appear to meet in different tracks. Crosswise, artwork and artwork in between.
One of these tracks could be about the poetry that arises when the constituents of a work allow partial, underlying elements to emerge. We find such 'poetic transparency' when Christina Hamre blurs her collages with suede pieces sewn on top of the motifs, but without covering them completely. We find it in Lærke Lauta's paintings, where the colors appear to be so diluted that they lie just like a thin membrane over the rough surface of the paper. And we meet it when Katrine White lets her otherwise strictly geometric figures stand and vibrate in a dense web of thin, colored lines.
A very different track is the graphic clarity that is on the way of several of the artists, not least Katrine Hvid. Anne Marie Ploug also crosses this track. For decades, she has worked with a simplified, pictogram-like aesthetic that makes her works instantly readable. She has since transferred this technique from paper and canvas to plaster reliefs. In Plugg's latest graphic works, we also recognize some of the overlapping motifs that are also at stake with Christina Hamre. Among other things, there are references to the 16th-century painter Caravaggio stored in some of her graphic works at this exhibition.
Finally, in the exhibition we can follow a trail that deals with materials and our feelings about them. Here are canvases, fabrics and papers that you want to iron your hand over - just to feel if they are what they pretend to be. But we also cross the track of materiality to a large extent when we face Christina Augustesen's light works. For what are we seeing? Is it modern editions of Mark Rothko's color swatches from the 1940s and 50s that have been turned into glass here? Apparently, at least something else is also at stake in the color change of the light surfaces: a disruption of the two-dimensionality that the plates impose, but which is obstructed when we consider the light works from the side.