Organic Origin

This is a long-term project that has developed in several chapters alongside my own journey as a parent. In 2008, my daughter was born and we lost a close family member. In 2011, I got divorced, and my life tumbled over. I created a book of personal family images in 2010, “Delicate Membranes”, and in 2011 the images “Turning into Soil”, both series dealing with the combination of joy and sorrow, giving life and losing life.

In 2016, I had my second child, and it was a strange thing to start a new family and once again feel connected to both the medical system and to nature through my body.

 

I photographed nature and my own body during pregnancy, and these images are now part of collages, experiments with wet ink jet installations, manipulations of appropriated images of natural history, ultra sound scans and scientific images.

 

The images on this page are from 3-day installation at NW Gallery in Copenhagen in 2018. During the three days, the installation would change every few hours.

99 LERKAR

Lise Seier Petersen arbejder i krydsfeltet mellem kunst og kunsthåndværk med ler som hendes foretrukne materiale.

 

I 2014 skabte hun 99 meget store lerkar, som siden har været placeret i landskabet ved Silkeborg Bad. I arbejdet med at skabe karrene, skildrede jeg processen i en stor serie af fotografier, som konceptuelt gik i dialog med Lises værk.

 

I værket ”Ingen kan træde ud i den samme flod to gange – 99 lerkar til Heraklit” er alle karrene forskellige: blandinger af lertyper, forskelle i brænding og karrenes størrelse.

 

Det minder om den fotografiske proces. Selvom fotografiet regnes for et medie, der kan give en korrekt og objektiv dokumentation, så mindede Lise Seier Petersens arbejde mig om, at korrekthed i fotografi aldrig er entydig. For hvornår er et fotografi korrekt?

 

Fotograferingen er derfor lavet med variationer faste indstillinger på kameraet: En fast kelvingrad på 4600 gr. Det betød, at morgenlys, direkte sollys og glødepærers lys viste sig i deres forskellige farvetemperaturer.

 

Kameraet var hele tiden sat på 100 ISO, men derudover varierer optagelserne mellem tre lukkertider og tre blænder. Nogle billeder blev meget lyse, nogle meget mørke – alle stadig principielt lige korrekte.

 

Siden har jeg skildret hendes udstilling med samme værk i Officinet hos Danske Kunshåndværkere og Designere. Læs Designetc.dk omtale af udstillingen her

 

“Tidens foranderlighed set gennem 99 lerkar” af Kamma Krogh

PHOTOGRAPHIC COLLAGES

 

2018

 

Ink jet prints, experimental printing and collages. Installation took place over the course of three days and changed every few hours.

 

Shown at
NW Gallery
PHOTOGRAPHIC COLLAGES

 

2018

 

Ink jet prints, experimental printing and collages. Installation took place over the course of three days and changed every few hours.

 

Shown at
NW Gallery

Organic Origin

This is a long-term project that has developed in several chapters alongside my own journey as a parent. In 2008, my daughter was born and we lost a close family member. In 2011, I got divorced, and my life tumbled over. I created a book of personal family images in 2010, “Delicate Membranes”, and in 2011 the images “Turning into Soil”, both series dealing with the combination of joy and sorrow, giving life and losing life.

In 2016, I had my second child, and it was a strange thing to start a new family and once again feel connected to both the medical system and to nature through my body.

 

I photographed nature and my own body during pregnancy, and these images are now part of collages, experiments with wet ink jet installations, manipulations of appropriated images of natural history, ultra sound scans and scientific images.

 

The images on this page are from 3-day installation at NW Gallery in Copenhagen in 2018. During the three days, the installation would change every few hours.

99 LERKAR

Lise Seier Petersen arbejder i krydsfeltet mellem kunst og kunsthåndværk med ler som hendes foretrukne materiale.

 

I 2014 skabte hun 99 meget store lerkar, som siden har været placeret i landskabet ved Silkeborg Bad. I arbejdet med at skabe karrene, skildrede jeg processen i en stor serie af fotografier, som konceptuelt gik i dialog med Lises værk.

 

I værket ”Ingen kan træde ud i den samme flod to gange – 99 lerkar til Heraklit” er alle karrene forskellige: blandinger af lertyper, forskelle i brænding og karrenes størrelse.

 

Det minder om den fotografiske proces. Selvom fotografiet regnes for et medie, der kan give en korrekt og objektiv dokumentation, så mindede Lise Seier Petersens arbejde mig om, at korrekthed i fotografi aldrig er entydig. For hvornår er et fotografi korrekt?

 

Fotograferingen er derfor lavet med variationer faste indstillinger på kameraet: En fast kelvingrad på 4600 gr. Det betød, at morgenlys, direkte sollys og glødepærers lys viste sig i deres forskellige farvetemperaturer.

 

Kameraet var hele tiden sat på 100 ISO, men derudover varierer optagelserne mellem tre lukkertider og tre blænder. Nogle billeder blev meget lyse, nogle meget mørke – alle stadig principielt lige korrekte.

 

Siden har jeg skildret hendes udstilling med samme værk i Officinet hos Danske Kunshåndværkere og Designere. Læs Designetc.dk omtale af udstillingen her

 

“Tidens foranderlighed set gennem 99 lerkar” af Kamma Krogh

2018 EXHIBITION

After almost four years, the vessels in the garden of Silkeborg Bad had changed significantly. Some had disappeared, some had cracks and plants sticking up through them. Weather and plants witness times passing.

 

In the exhibition space in Copenhagen, Officinet, Lise Seier Petersen summed up her work with the large vessels and included the images from the process of creating them, and images from the time since.

 

The images below are my documentation photographs from the exhibition.

IMG_9104_lille-billede