We have seen your strong drawings and how you beautifully built the exhibition in space through a serialized repetition of pictures/panels/shields, gestures of painting and sticking stuff to the wall, structrurizing the space (and your subjectivity?) that way in what we imagine be an almost perfomative moment. The works presents itself well both from distance as a repeated motif, and closer as materiality, thickness, softness and as surface with two sides. The borders are interesting in how the central jellyfish are like mass leaks onto the wall with stickers to claim the room. What would it mean if the work was installed in the middle of the room, forming separations/shields in more direct relation to the viewer’s body? We wonder, what would it do if the series of works was turned into a single work? Your practice seems genuine and invested, rooted in everyday exercise of drawing, producing a catalogue of composition, motifs, colours and technique - a body of work that supports and enables you to work fast and intuitive. The way you described your search for objectivity and how it look away everything of interest for you, we imagine that you would get something out of placing your intention and intuition up against something which has another inherent intention/own will - to introduce a resistance, as an input. Contradictions and fear must not be seen as a segregative poles but as something you could ride on to move forward."
Barbara Casavecchia, Marie Lund and Henning Bohl members of the jury, Workmaster, Head 2020