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"ON THE EDGE OF THE PAST"

When does the present become the past? The Rolling Stones asked a different question: "Who wants yesterday's papers?", and in a way it is true that news items soon become out of date. Then they belong to the past. However, it is also true that yesterday's (not to mention last year's) newspapers often help us to understand the current situation better.
The concept "the present" can be tricky to define. The seconds it took to read these words are now irrevocably gone and are in the past. At the same time it is clear that 22/7 2011 is part of the present and will always be. Occasionally we experience that something we believed belonged to the past suddenly takes centre stage in our present. Other times we feel that an opinion, relationship or situation is in the process of entering the past.
Because the boundaries between the present and past are so fluid, we all stand "on the edge of the past" from time to time, and are able to see in several directions, backwards of course, but also forwards, at the future.

Inspiration and point of departure

The project "On the Edge of the Past" has as its starting point everyday objects that we surround ourselves with: they can be functional, decorative, beautiful, ugly, common ot rare. Everywhere we leave traces of our existence and identity. Some of these enjoy a lot of attention, others are ignored.
In my work I focus upon and isolate objects which trigger imagination, reflection and memory. The ageing and wear and tear of objects can lead to an aesthetic experience and philosophical wonderment. These are things that I try to visualize in my work, where I often strive to achieve a tactile yet sublime expression. Despite a conscious attempt to achieve an aesthetic expression, my intention is that the powerful expression should dominate and retain recognizable traces of original patterns, textures or forms, even after they have undergone a "metamorphosis". "The Seed We Sow" is inspired by my great-grandmother's curtain rod, while the print itself reminds me of Sarepta's jar, which is never empty. This is a symbol of human development, and mankind's innate resourcefulness, creativity and capacity for finding solutions.
The titles support the idea that my works may be interpreted metaphorically. Motifs and forms that I have used include the heart, urns, circles and rope, which may be seen as metaphors for time and existence, the individual and society, inclusion and exclusion, infinity, a host of opportunities and solutions, abundance, but also overconsumption.