Rikke’s practice centers around the relationship between reality and the human being. She builds up her material in a new context, using instruments such as reflection, displacement and repetition, where the scenarios she creates appears as fragments or parts of a larger whole.

By this she seeks to questions the borders and edges of human perception.

She has, over past years, found herself more and more anchored in a metaphysic approach and interest, and seeks to examine the dialectic and the interaction between the human psyche and content on one hand, and the form of the world and things that inhabit it, and its matter on the other. She often works with the landscape and the body, and seeks to deconstruct and rebuild, by modulating the object itself. Via manipulation and different approaches to use and compose the medias, she aims to develop the field of those.

Carsten Ingemann’s artistic practice unfolds in the space between a distinctly Nordic landscape tradition and a psychological space less easily defined. Darkness is at the centre of his endeavour, with all the complex connotations it evokes. The landscapes conjured by the artist are made visible through the extended eye of the camera and the long exposure technique he employs. Thus, his works reveal the beauty and mystery of that which under normal circumstances remains hidden.

His works represent an alternative view of Denmark,  focusing on the silent outskirts in contrast to the bustle of the city.  As a result, the pictures are an accentuation of the inherently local, which still exists in a global world.

To his fine art practice, Carsten Ingemann brings a certain sensibility towards his subject matter, honed during his more than three decade long career as a renowned photographer, documenting political events, conflicts and war zones from around the world.

For further information on Carsten Ingemann please contact us.

In his artistic practice, Troels addresses issues of time, geographies, spatial production, and representation.

Working in various mediums and locations, he explores aspects of serendipity and emblematic effects of place.

Troels makes us question the relationship we build to our daily surroundings by drawing out the inner geographies that our spatial experiences build in us. Superimposing collections of places, spaces, and colors on film evokes unexpected connections between distinct geographies and shows that conventionally defined 2D mediums, such as drawing and photography, can be a practice of sculpting in time and space.

Looking beyond the immediate becomes a way of re-stitching the constellations of the matter that make up our environment. Mixing media and form, the hand is always a key focal point of the work, not only in drawing and building, but also in seeing, writing, experiencing. The hands-on approach of submerging into the matter and absorbing it with the skin allows for Troels’ aesthetic idiosyncrasies to be exposed and observed in the work.

Lars is a photographer, writer, composer and subject specialist in photography, and have had gallery and museums exhibitions since 1992.

In his portrait series, he focused on making images of known creative people and has photographed superstars such as Cindy Sherman, Björg, Leonard Cohen and Yoko Ono amongst many others. In his portraiture he strives to “get to know people”, of scanning them and of depicting them in his own particular way. In that way most of them reflect elements of Lars’ own desires, dreams, longing and melancholy, and the portraits are linked to his own life and his encounters with the different people depicted, and in particular, the conversations they have had.

Some of the photographs have already become historical, because time has left its inexorable mark on the material.

Lars Schwander (1957) holds a MA in Nordic philology and film science. He was the founder of the Centre of Photography in Copenhagen which he ran for 15 years. In 2008 he received Chevalier de l’ordre des arts et des letters (French Ministry of Culture) amongst many other great achievements.

Malte Brandenburg’s series STACKED focuses on post-war housing estates in Berlin, capturing them in images characterized by a minimalist, symmetrical aesthetics.

Usually indistinguishable from the urban landscape which they are part of, these tower blocks are rarely accentuated for their architectural qualities, but have rather come to be associated with economic and social burdens, in spite of initially being built to provide modern and affordable housing for middle class families.

By isolating the buildings from their surroundings and presenting them from a frontal perspective, Brandenburg shifts emphasis from their social to their formal aspects and individuality. The resulting images, with their linear focus and interplay of colour and surface are reminiscent of the modern, formalist painting of the mid 20th Century.

The name of the series refers to the particular mode of living offered by the tower block, in which people live ”stacked” above and below one another. At first sight the flat, uniform facades of these buildings do not betray much about the lives unfolding within. However, upon closer scrutiny irregularities of the surfaces emerge in the form of satellite dishes, flower boxes and differently coloured blinds, carrying small fragments of information about the inhabitants.

Naja Utzon Popov (born 1973, Copenhagen) is a Danish sculptor, textile designer and ceramicist based in the old Burmeister & Wein shipyard in Copenhagen.

Her creative genes are inherited from her grandfather Jørn Utzon, a Danish architect most notable for designing the iconic Sydney Opera House in Australia. Her mother, Lin Utzon, is a Danish artist as well and her father, Alex Popov, an acclaimed Australian architect.

Her childhood years in Denmark have always been an important source of inspiration for her work, as have the years she spent in Australia, where she studied painting, etching and drawing at the Julian Ashton Art School. After moving to England, Utzon Popov continued her formal artistic training at the University of Westminster (2002) School of Media Arts and Design.