bergenkunsthall

I COULD ONLY SEE THE BACK OF IT

Graduation exhibition Bergen Kunsthall 11.4–27.4.2025

PERFECT STATE (2025)

Eight casts (120cm x 80cm)

Concrete (B20), Iron, Tar

TEWNTY-NINE FOLDED TEXTILES (2023-25)

Various dimensions

re-worked textiles with cod liver oil and tar, two-year process in the outdoor studio. First aid kits. 

“Perfect State” (a term used to describe an object’s ideal condition) materialized from the tension between permanence and change. It consists of eight concrete casts made one by one on the floor in the outdoor studio. The work represents something I can move and take with me, yet it is self-contradictory in its materiality between stability and displacement. It is connected to the outdoor studio in form but stands as its own object when moved. Each cast varies in surface and dimension but serves the same purpose. This makes them adaptable and can be repositioned or reinterpreted in future projects. Miwon Kwon writes about this tension in ”One place after another” how works must negotiate between being rooted and being mobile. When art is moved, its meaning shifts. It becomes not just an object, but part of a larger narrative shaped by its new context. “Perfect State” exists in this in-between. It’s a neither/nor object. It can be displaced, absorbed, or redefined depending on where and how it’s used. This ambiguity is what interests me. This asymmetry. I rely on the outdoor studio for purpose, shelter, and structure. But the room continues to exist independently of my presence.

I find the ability to reuse and change the casts compelling. At Kunsthall, I wanted to bring the space I´ve been working in with me. Already upon entering the Kunsthall, the presence of the textiles was felt as their scent greeted you before the works themselves did. The casts bear the imprint of the studio floor, resting beside “twenty-nine folded textiles,” folded together with first aid kits subtly pointing toward future possibilities and the need for safety in the act of making (underscores the importance of having a secure place to work). I’m showing a piece that evokes a sense of mobility.

The casts protect. The textiles hold. A desolate landscape makes room for a dream playground.

Poster intervention for group exhibition "I could only see the back of it"
Concept development and implementation.

Removed old posters from the billboard, leaving behind tape, glue, and torn edges. The backs of the posters were left exposed, connecting to the exhibition's theme. The title was hand-painted directly on the wall and across the frame.