Like a cactus in the desert; flat, fudged and sprinkled with stiff pins, puncturing the tip of a/
your bloody finger. I could draw a cactus pretty well, it fits the flatness of a paper.
Palms too.
The mute faces in your hands
or infant of my eyes.
Could there be a future world
with more detail
and a bigger surface
for your feet?

They are a kind of boards, boards - surfboards
with an asymmetrical narrowing in the "waist".
The shoe sole is a shape that refers both to the shoe and the inner
of a shoe,
of the shoe
that is normally absorbed by the foot.
But the shoe sole is also used as a sign
for walking, a footprint, but without the drawing of toes.
This is thus an abstraction of a footprint!
Usually the sole of a shoe is trampled by the foot, which then presses the sole
down against
the substrate.
And then,
footing,
a foothold.
Scattered
motifs on walls and floors,
by educational guidance in the public
spaces,
transport
systems,
or directly located in nature,
for example by hiking trails.
The sign,
this simplified and possibly aestheticized form
of
a
shoe,
also leads the mind toward the
traces.

Traces are alive
at once,
and the living is
something
we are
investigating.

And then you start counting.

How many tracks do you see in this town?

I am all about shape, space and material.
I plan to
gently
cover lots of lumber in trashed tin foil.
Everything that has been said
stands like marbles statues
around us.
And these big walls of foot,
body of material,
they are not soft sculptures.
More abrasive.
More like keyholes.
Not inflated curves.
Not really figures.
A stable,
latter,
sports.
Needle,
thread,
knot.

Sculpture has been seen
as a separate thing.
That had to distinguish itself
from other things,
the ordinary things
which everyone can touch.
Listen deep,
you, genetic face.
Sacrosanct,
separated
from chance
and time
the sculpture rose, isolated and miraculously,
like the head of a seer
placed in the silent
continuance of space
and its great laws.

Like a newspaper
with internal structure
see the sculpture
as a figure.
The disposition of mass
and distribution
of weight.
Flat or not.
Mirroring a painting.
Painting mirrors.
A lot of brass and a lot of mirrors.
Then comes the sculpture.
The bulk of a sculpture.
Bulbous sculpture. Bulbous nose.
Who came first?
Face. The act of looking. These objects are not small.
The matte surface of this mirror does not really provide a self-reflection.
Or does it?
Gazing upon these works or mute barriers you could think of
imprints,
casting,
surface, surface boards,
sandal,
fleet,
monolith,
a suggested encounter with yourself.

My love of surfaces.
I'm a real fan of the surfaces.
I collect them
and
I will divide.
Spread it out
to a certain weak form.
You, you on the bus.
I could be you.
Everything which is hybrid.
Everything is hybrid.
And I'll spread it out.
The proces includes me holding the material,
which is important.
It is like going into somebody's kitchen,
and I like cooking.
Structure.
Do.
Not.
Go.
Out.
Space.
And then
I spill
it.

You can get the sense that you are a Lilliputian
invited to tea in a kingdom of giants.
During your first voyage, you are washed ashore after a shipwreck
and find yourself in a prison for tiny people.
Footwork - you try to start some sort of conversation…
"A beam on its end is not the same as the same beam on its side." (Robert Morris)
And then you throw a lump of dough.
You threw a lump of dough.
Following xx rules of an arrangement.
You then throw out a lot of lumps.
Dough all over.
Sucking into the floor,
small creatures of soft
spreading out
the landscape.

More Sole, 2016, 700 x 220 x 30 cm, aluminium.

More Sole was made as a part of Skulpturlandsby Selde 2016 and is permanent installed at Fursund
Hallen (sport arena) in Selde town, Denmark. Over a period of four weeks a group of twelve artists did
outside aluminum casting in and around this small town. The project and exhibition space
Skulpturlandsby Selde is curated by the Danish artist Marianne Jørgensen and driven with the help of a
lot of local residents.

Photo credit: Barbara Katzin (1,4), David Stjernholm (2), Julie Stavad (3).