captured by Pernille Sandberg
– notes (april 2025)
I’ve been thinking a lot about ecology, its body and value. How everything feels wrapped in an archaeological cocoon. Perhaps I’m searching for a new way of approaching nature, or the systems that covers it. I feel the power lies in ritual and I want to become a vessel for non-human ideologies. Shapes cross and overlap, forming emotional and material support systems.
I’m drawn to the idea of material memory and transformation — how matter itself remembers, mutates, and teaches me about care and change. The unpredictability of these processes resists linearity, it demands a circular response, a form of reconnection. This reconnection has become my navigation system –a way of orienting myself through making. My sculptures begin to feel like shelters, or temporary nests, small architectures for belonging.
Lately my thoughts crosses through Nadim Samman’s Poetics of Encryption, Jane Bennett’s Vibrant Matter, Goethe’s Urpflanze, and Ursula K. Le Guin’s Carrier Bag Theory of Fiction. These texts orbit my work like constellations, guiding how I think about systems of material confession and ancient belief — how they continue to encode themselves into modern symbolism. I’m exited over the small details, the traces and gestures that materials leave behind. I want my sculptures to become caves of encryptions, and to live within it.
My metalwork acts as an embodied defense mechanism, shaping form into shields as a safe state for fragile processes. The glass is emotion. Together they create this duality. Metal attempting to protect itself from the world while the glass chooses to trust it. It makes me humble to see them together like this.
I loop back to some kind of rhythm. Its cycles and releases bring me to the almanac, or to some idea of origin — maybe a new way of measuring time through remedies. The actions of sowing and harvesting, and the vessels to carry them.
Portrait by Pernille Sandberg