Tunellfabrikken, Nordhavn, Copenhagen
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Over the past few years, Lars Morell has created a complex and diverse body of work consisting of photographs, sculptures, and installations. Morell’s work has always encompassed and questioned the visible/invisible and what seems to be something that it is not. In numerous exhibitions nationally and internationally this iconography has been thoroughly developed, and in his recent works distorted shapes, which now “grow” over the canvas, are constructed from imagery in his previous works – paintings, sculptures and drawings. We see colored constructs that at first glance are reminiscent of branching root systems; we recognize the outlines of chains and hooks – and thus again objects that are used in illusion and deception. Morell develops these works out of figuration and sees them as distorted still lives, as a dilemma between abstraction and representational painting.
Magnus Pettersen's recent sculptural motifs intertwine the temporal with a candidly choreographed symbolic. Addressed formally, various units of pigmented concrete, cast with varying textures and polychromatic surfaces, are disjointedly stacked upon a vertical axis. In contrast to the material’s structural robustness and architectural significance, Petterson’s totem-like assemblages appear to be existing on the brink of collapse, teetering in anxious anticipation thereof. They remain dislocated in space and time; sacral monuments imparting an afterimage of the artist’s gesturally repetitive and piecemeal act of composition, disquietingly playful and simple.