EXHIBITION- CERAMIC ART MUSEUM - 2012

DISPLACEMENTS –INTERNATIONAL CERAMIC ART MUSEUM GRIMMERHUS 2012

5 Rooms – 5 site-specific contextual artinstallation

DISPLACEMENTS

A displacement is a movement—subtle or seismic—that reshapes what once was. It stirs the physical, the
mental, the social, shifting boundaries and opening new possibilities. It can be an act of creation or rupture,
a gentle transition or an abrupt fracture. Displacements unsettle, but they also transform. They carve new
paths, forging connections while unearthing tensions.

At the International Ceramic Art Museum, Grimmerhus, I explore displacement as both a physical and
conceptual force—an artistic gesture that sparks new energies, dialogues, and spatial experiences.
Through five site-specific installations, I invite space and material to engage in conversation, unfolding a
layered interplay between structure, perception, and the echoes of time.

ART AS A TOOL

“Art is not the result of knowledge, but a path to attain it.” — Willy Ørskov

For me, art is a means of understanding the world—sensory, perceptual, deeply engaged with time and space.
My practice is rooted in the in-between, the places where tension arises, and where each element, in its own
right, is amplified by its relation to the whole. In my exhibition at Grimmerhus, I examine what happens when
a material shifts—when concrete is transformed into ceramic-glazed concrete. What does this tell us about
texture, color, weight, and presence? The objects, inspired by architectural elements and spatial rhythms,
repeat, assemble, and align themselves into sculptural compositions. They hope for dialogue.
They long to respond—as ceramic spaces.

CERAMIC SPACES

The museum itself, designed in 1857 by Johan Daniel Herholdt, is a place of strong architectural character, a
symphony of historicism borrowing from different eras and styles. Intricate wooden carvings frame the entrance,
meeting gray and red walls adorned with white relief panels. Niches curve into solid planes, while elaborate
ceiling rosettes demand attention. Even the wooden floors—whether laid in parallel lines or herringbone patterns
compete for space in this ornate composition.

DIALOGUE

Can one engage with such a space without entering into discord? Can dialogue emerge from contrast rather than
conflict? In this historic setting, I seek simplicity amidst ornamentation. I turn to geometry—lines, circles,
intersections, and squares—echoing the patterns found in the building’s structure: in its floor plans, window
grids, radiator fins, and architectural details. These forms become part of my artistic vocabulary, searching for
belonging, searching for resonance.

SUN AND SHADOWS

As the sun moves across the sky, the works transform. Shadows lengthen and contract, shifting the perception of
mass and lightness, permanence and ephemerality. Restricted from the museum walls due to preservation
constraints, the objects inhabit the floors—deliberate, patient, multiplying in quiet insistence. Their shadows tell of
movement, of a longing to claim space, to upend the expected, to exist between inside and out.

GLAZED CONCRETE

In over a ton of ceramic-glazed concrete, I bridge two worlds—concrete and ceramics—materials that are both
familiar and foreign to this museum. They do not echo its architectural language, nor do they mirror its collection.
Yet, they extend an invitation to the past and the future alike.
Grimmerhus is on the cusp of transformation. As the museum expands, a new chapter will be written in its
architectural story. My ceramic-glazed concrete works stand in conversation with this future—seeking connection,
reflecting on change, and dreaming of the spaces yet to come.

MATERIALS: Glazed Concrete, Concrete and steel.
PHOTOS: Ole Akhøj

FUNDED BY:
The Danish Art Council
Fonden Realdania
Danmarks Nationalbanks Jubilæumsfond af 1968
Grosserer L. F. Foghts Fond
Danmarks Tekniske Universitet, Bygningsdesign
Concrete materials donated by Densit Aps.