EXHIBITION - GRØNBECHSGÅRD HASLE - 2014

TRANSFORMATIONS – GRØNBECHSGÅRD HASLE 2014

A CERAMIC SITESPECIFIC INSTALLATION

HISTORY AND RENEWAL

In Hasle, where the wind carries the scent of salt and clay, where the black-timbered houses stand resilient against time,
I sought to explore the quiet transformations that shape both place and material. The town, with its shifting layers of
history and renewal, became my canvas—a space where architecture, ceramics, and urban change could intersect and
unfold.

DIALOGUE

At Grønbechsgård, I invited these elements into dialogue. The site-specific installation emerged from an inquiry into
Hasle’s built environment—its structures, its topography, its evolving relationship with the sea. For years, architects had
sought to weave the harbor and town together, stitching old and new with lines of renewal. But what does it mean for a
place to transform? How does history persist when new layers are added, when façades shift, when modern needs press
against tradition?

HASLE AND ITS HISTORICAL BUILDINGS

I was drawn to the black, timbered houses of Hasle, their façades clad in wooden tiles—an architecture both practical and
poetic. I was drawn to Bornholm, an island where the earth itself is shaped into form, where ceramics are not just objects
but stories of place, material, and craft. How could this dialogue be extended into the urban space? How could ceramics not
only speak of buildings but actively shape their renewal, becoming a material witness to transformation?

This exhibition was not about providing answers but about refining the art of questioning. I worked with ceramics in a way
that borrowed from architecture—not just in form, but in method: layering, sketching, constructing, deconstructing.
I introduced a ceramic-glazed concrete, a material that bridges tradition and innovation, mirroring the town’s own evolving
landscape. The installation became a meditation on space, time, and memory—on what is preserved, what is erased, and
what is reimagined.

TRANSFORMATIONS

Transformations was the second in a trilogy of exhibitions that explore ceramics as space, as structure, as a carrier of meaning.
It followed The Ceramic Sketch as Ceramic Spaces at Gallery Oxholm and preceded the final installment at Officinet,
Copenhagen. Each exhibition, like a chapter, built upon the last—examining how ceramics can move beyond objecthood into
the realm of architecture, urban narratives, and spatial experience.Hasle, with its layered history, stood as both subject and metaphor.
The installation was a reflection of the town itself—rooted
in tradition yet shaped by change, holding its past within its reinvention.
At the exhibition, I was not looking for the answers, but rather trying to get better at questioning.