Safety Net 1

Work commenting on fragility and the delicate nature of the psyche.

Untitled

Through this piece, I wanted to express my thoughts on the COVID-19 Coronavirus pandemic and how it had affected people's lives and, specifically, mental health.

The artwork consists of a large sterling silver, double-pin brooch, with elements representing a cityscape, a window or isolating room, the horizon and a small branching structure (called a "spike glycoprotein") that protrudes from the main spherical body of the Coronavirus, as depicted in media. The brooch was designed around a partial spherical shape, representing the earth and the shape of the Coronavirus. I have used texture as a way to show the feeling of separation and ‘other’ felt by people during the pandemic.

Isolation, loneliness, alienation, the fear of the crowds... these are the themes I wanted to touch on through this piece as the world experienced one of the most turbulent and polarising events of the 21st century.

Isolate, Alienate

The **Could-be-true tales** is a series of three pieces with hidden narratives on power and oppression. Each painting reflects abstract representations of concrete concepts involving exclusion, isolation, and elimination.

This is a type of time capsule project in which the stories behind the artwork will be revealed in the future for reflection.

Could-be-True Tales

World citizen

Polaroid Experiments

Figghia mia

Running Rabbit 

The Maltese Loneliness

My practice examines the relationships we create with the natural world, exploring cultural dialogues with the non-human, and attempting to collapse our socially constructed separate notions of human and animal. I am deeply influenced by Archaeology, Ecology and Comparative Religion, and draw from artworks and narratives from the ancient world, Palaeolithic and folk art, as well as the Baroque and Renaissance masters.
Recent works dwell on my own fractured relationship with the ecosystems around me. In the face of overwhelming climate collapse, ecocide and Climate Grief, I attempt to locate myself in a world that may quite literally fall apart within my own lifetime and increasingly makes little sense. 
In response, I craft my own religious/mythic landscape - incorporating plant, vegetal and fungal matter into sculptures, from which I draw. Whilst consciously appropriating the high visual language of Christian art, I allow purchase for the natural world to become collaborative in the process of the works; simple sculptures become looming idols, altarpieces of exploding vegetal figures or wounded palaeolithic bears which invoke the stigmata of Christ, questioning the validity of faith and our conceptualization of sacredness.
My practice searches for a way of living that might teach us how to reconnect with the natural world and to allow a sense of spiritual purchase and rootedness. It is a wish to transcend the silence of the nonhuman, to collapse distinctions between artistic and scientific endeavour, between mind and body, profane and sacred, human and animal, material and immaterial, known and unknown. 


Ascension / Arboralis Mundi 

In the series Fältflora I – VI, detonated grenades are exposed in neat rows. Fate from the deep looks ahead through the booming sea of military munitions I have out in the field in my home region.

  
The boundaries between the past and existence are explored.

  
The work moves in the field of tension between attracting and repelling, the real and the fantastic and between the ordered and the disordered. The installation consists of sculptural elements and photography, where the darkness is the guide in the story, but the darkness never gets the last word. 

FIELDFLORA

Art that embraces the lightness and aesthetics of the sunlit environment. It's about finding a balance between being in control of artwork and letting the paint flow freely.

Golden Rain

Strategic Search

Lanterns symbolize the inner light that guides us through periods of darkness. They encourage us to find our inner strength by illuminating our life journey in the world. Delicate silk objects capture the light, creating shimmering effects and moving slightly when a person goes nearby as if engaging with that person, inviting them to stop, pay attention and enjoy the moment. 

Lanterns III

In the “Clouds'' the texture of layers becomes the main point of aesthetic value. Created out of hand-painted textiles and then carefully assembled, these compositions of a light and lively color palette bring an uplifting feeling to the environment, evoking a positive emotional response.

Clouds II

"Sadness"

These collages of physically manipulated landscapes are inspired by the excessive amount of travel ads and digital imagery - We don't know what is real anymore, and what isn't.

Transition

Walker (2017)

The body of work entitled «fficcionness» [from the spanish word: ficciones –fictions–] is born from the encounter between two artists and the two different mediums their practices have been developed in, bounded by a common interest towards intimacy and, namely, the oneiric and fantastic tints that the relationship between their oeuvres may arise. 

The word «correspondence» hangs on to the latin verb «spondere», the act of promising, of giving one’s word, an action that connects the present with a future possibility, the possibility of an answer, the response to a stimulus, a correspondence.

This process lies within the touch, the contact, which is a gesture that repeats itself throughout the different pieces of the work: the touch of the skin, the constant approach between the graphic and the photographic, the abstraction and the figurative, the physical and the emotional.

Such an encounter turns then into a promise, one that goes beyond the spacetime dimension, and that becomes virtual without losing sensibility, and physical without losing abstraction.


fficcionness

Fascinated by the complex relation between technology and nature, my aim is to confront the viewer with the increasingly blurred line between the two.

The work is a visualisation of philosopher Baudrillard’s simulacrum, which explores the idea of imitation. The representation of an object takes on its own shape and barely has a resemblance to the material world any more. ‘Everything I see is true’ aims to make the viewer question their perception of representation. More specifically, the work explores the true simulation of our environment.

The idea of imitating is visible in my work in different ways, some more obvious than others. Some of the images are completely computer-generated – I wanted to see to what extent the computer can duplicate nature and all its laws, so I made the software mimicking elements like water and light. What then happens when seeing all the work together, both photographic and digitally composed work, is that the viewer starts to wonder whether the photographic work is digitally made, and the other way around. In this way, I want to situate the viewer within this space of ambiguity where it is hard to tell the nature of the image.

Everything I see is true

There is a common fear of technology that holds an increasingly larger place in our lives, while at the same time we are dependent on our electronic devices.
I have made several reconstructions of self-portraits as a starting point. The reconstructions show how we are becoming a technological creature, and to what extent we can we replicated.
This work is an ode to the perfection as well as to the imperfections of technology, and to the everlasting attempt of mankind replicating all the natural.

The video captured the installation that was shown at the exhibition. The sculpture is actually a 3D-printed self-portrait which consist of 30 photos. The model is exactly what the computer generates when putting the photos together. On the model, I projected a video of myself, which gives the inanimate a sudden uncanny feeling. While the other works give the impression that technology strives for perfection, this work does the complete opposite. By doing this, I want to question the perfection as well as the imperfections of technology, and how man slowly transforms into a digital being.'


The relation between photography, the virtual and what we consider as reality

Safety Net 2

Team Effort

Unsettled Comfort

Wildly Contained 2

Deflation

Anticipation

0.5∆

Like the Giant’s Causeway in Northern Ireland or the pinnacles of Cape Raoul in Tasmania, Australia, the pendant represents the rock formations known as Columnar Jointing - a result of the cooling and fracturing of flowing lava.

Standing strong against the elements, these columns were shaped over thousands of years by their environment, analogous to the weathering humans endure to evolve and reach for greater heights in their lives.

Columnar

Porcelanica 1

By using my own photos, I developed a series of collages using various themes from book inspired images to a criticism to mass incarceration of Black and Latinx, and gentrification of historically Black neighborhoods. These pieces vary from 8”x10” to 22”x28”. Most were created between 2021-r2023.

Collage 1

_Dark Forest_ is part of a series of three nature-inspired pieces produced in the summer of 2024.

Dark Forest

_Shore_ is part of a series of three nature-inspired pieces produced in the summer of 2024.

Shore

_Placid_ is part of a series of three nature-inspired pieces produced in the summer of 2024.

Placid

Wildly Contained 1

Objects and art

The layers of us

My hands know more than I do 4

My hands know more than I do 3

My hands know more than I do 2

My hands know more than I do 1

Stammkunde

Winter search

My own four walls

Kreuzkölln

**The Chair** was part of the show _Abstract-Ed_ (2024). In the three pieces which are part of a series I called The Living Room, I practiced de-figurative versions of mundane objects and scenes. I intended to abstract form to its pure essence.

As a child who draws stories and makes sense of their visual representations, I aimed to experiment with the freedom to play with flat lines and shapes to create alternative meaning for objects that emerged intuitively during the process.

The posterior analysis of these pieces led to associations of symbolisms with feelings and emotions, which translated to simplified versions of re-invented volume-_less_ objects. All is part of tentatively responding to the question: _Can real life be simplified?_

The Chair (The Living Room)

**The Fireplace** was part of the show _Abstract-Ed_ (2024). In the three pieces which are part of a series I called The Living Room, I practiced de-figurative versions of mundane objects and scenes. I intended to abstract form to its pure essence. 

As a child who draws stories and makes sense of their visual representations, I aimed to experiment with the freedom to play with flat lines and shapes to create alternative meaning for objects that emerged intuitively during the process. 

 The posterior analysis of these pieces led to associations of symbolisms with feelings and emotions, which translated to simplified versions of re-invented volume-_less_ objects. All is part of tentatively responding to the question: _Can real life be simplified?_

The Fireplace (The Living Room)

**The Piano** was part of the show _Abstract-Ed_ (2024). In the three pieces which are part of a series I called The Living Room, I practiced de-figurative versions of mundane objects and scenes. I intended to abstract form to its pure essence. 

As a child who draws stories and makes sense of their visual representations, I aimed to experiment with the freedom to play with flat lines and shapes to create alternative meaning for objects that emerged intuitively during the process. 

 The posterior analysis of these pieces led to associations of symbolisms with feelings and emotions, which translated to simplified versions of re-invented volume-_less_ objects. All is part of tentatively responding to the question: _Can real life be simplified?_

The Piano (The Living Room)

This work is part of a series in which I revisit a conversation about perspectives. In these two experiments, I engage the viewer from two distinct points of view. In **Fisherman View**, the viewer is positioned in the fisherman boat, while in View from the Shore, the viewer contemplates the fisherman boats from land. 

The pieces are also part of a larger reflection on climate change. The dark and earthy color palette of both views anticipates a future where nature may look significantly different. In this post-global warming premonition what is left is the resemblance of a seascape where the heat distorts the view and life insists in continuing to exist in a sea of putrid water contaminated by chemicals and animal remains.

Fishermen View

This work is part of a series in which I revisit a conversation about perspectives. In these two experiments, I engage the viewer from two distinct points of view. In Fisherman View, the viewer is positioned in the fisherman boat, while in **View from the Shore**, the viewer contemplates the fisherman boats from land.

The pieces are also part of a larger reflection on climate change. The dark and earthy color palette of both views anticipates a future where nature may look significantly different. In this post-global warming premonition what is left is the resemblance of a seascape where the heat distorts the view and life insists in continuing to exist in a sea of putrid water contaminated by chemicals and animal remains.

View from the Shore

I produced this work in a live paint event in October (2023). This is an abstract representation of empty spaces promoted by war and destruction. The two light cubic forms are the only pieces left in a scenario of darkness. Everything else resembles the shadows of what no longer exists.

Ghost City

Music by God in Panic (godinpanic.com) 

Choreography by Magalie Benvenuti (www.cie-tancarville.fr/magali-benvenuti)

Open Studio at Institute fuer Alles Moeglich in Berlin

Purple

The Beutiful Downfall

Trust me

Leer

Viaggioattraverso part II

Portraits

Memory Perseverance (Self Portraits at 40)

Polaroid photograph depicting an Ant in front of an airplane window somewhere over Spain.

Several of the fields are round shaped do to their circular irrigation systems. This circular fields can be found on all continents, most densely in the dryer areas of North America and in rapidly growing numbers in Saudi Arabia. They create, when viewed at satellite images, beautiful abstract compositions.

May 2022

Ant on plane

(CONCEPT)

umgekehrter Rahmen (reversed frame)

Idea from 2021

Concept sketch of a reversed frame, a picture-frame, which got turned inside out and now frames everything around it.

The sketch is largely based on the 18th century French frame on the second image.

I imagine the final reversed frame to be manufactured ideally with wood carved ornaments or alternatively more cost efficient molded ones.

The frame should appear antique and show strong signs of age, skillful frame makers have techniques to impressively recreate the effect of time.

umgekehrter Rahmen (reversed frame)

Part of the series "Kirchenspiegelungen".

October 2023

Reflection in a window of the chapel: Kapelle Maria Hilf Feistritz in 9771 Berg im Drautal (Austria).

Kirchenspiegelung 17.

Part of the series "Kirchenspiegelungen".

October 2023

Reflection in a window of the church: Kirche Gnoppnitz in 9761 Greifenburg (Austria).

Kirchenspiegelung 13.

Part of the series "Kirchenspiegelungen".

October 2023

Reflection in a window of the church: Pfarrkirche Greifenburg (Hl. Katharina) in 9761 Greifenburg (Austria).

To properly depict the abstraction in this photograph, caused by the reflection in an uneven window glass, the picture should be printed in a large size. 

Kirchenspiegelung 15.

Part of the series "Kirchenspiegelungen".

October 2023

Reflection in a window of the chapel: Hauskapelle zur Heiligen Katharina in 9900 Lienz (Austria).

Kirchenspiegelung 14.

Reflections of Ronda in the windows of an abandoned building at the south end of town.

(29400 Ronda, Andalusia, Spain)

The resolution of the photo would allow a print in a size up to 200 x 146cm (79 x 57 inch) 

A large print is necessary in order to see all the depicted details.

Ronda reflection

Part of the series "Kirchenspiegelungen".

July 2023

Reflection in a window of the church: Evangelische Kirche Agoritschach in 9601 Arnoldstein (Austria).

Kirchenspiegelung 6.

Part of the series "Kirchenspiegelungen".

June 2024

Reflection in a window of the church: Filialkirche St. Magdalena in 9341 Straßburg (Austria).

Kirchenspiegelung 4.

Part of the series "Kirchenspiegelungen".

July 2023

Reflection in a window of the church: Filialkirche Tratten in 9623 Sankt Stefan an der Gail (Austria).

Kirchenspiegelung 11.

Part of the series "Kirchenspiegelungen"

June 2023

Reflection in a window of the church: Filialkirche St. Job in 9587 Arnoldstein (Austria).

Kirchenspiegelung 8.

Part of the series "Kirchenspiegelungen".

June 2023

Reflection in a window of the church: Filialkirche St. Magdalena in 9341 Straßburg (Austria).

Kirchenspiegelung 12.

Part of the series "Kirchenspiegelungen".

June 2023

Reflection in a window of the church: Pfarrkirche Hl. Martin in 9321 Kappel am Krappfeld (Austria).

Kirchenspiegelung 5.

Part of the series: "Kirchenspiegelungen".

June 2023

Reflection in a window of the church: Pfarrkirche Lieding (Hl. Margareta) in 9341 Straßburg-Stadt (Austria).

Kirchenspiegelung 3.

Part of the series "Kirchenspiegelungen".

August 2022

Reflection in a window of the chapel: Lindl Kapelle in 9560 Feldkirchen (Austria).

Kirchenspiegelung 2.

Part of the series "Kirchenspiegelungen".

June 2023

Reflection in a window of the church: Kirche St. Sebastian in 9314 St. Georgen am Längsee (Austria).

Kirchenspiegelung 9.

Part of the series "Kirchenspiegelungen".

June 2023

Reflection in a window of the church: Schlosskirche Maria Loretto in 9341 Straßburg (Austria).

Kirchenspiegelung 10.

Part of the series "Kirchenspiegelungen".

June 2023

Reflection in a window of the chapel: westliche Friedhofskapelle in 9601 Arnoldstein (Austria).

Kirchenspiegelung 7.

Part of the series "Kirchenspiegelungen."

June 2022

Reflection in a window of the chapel: Kapelle Maria Hilf (Luschenkapelle) in 9062 Moosburg (Austria).

The bird, which was trapped inside the church, (see detail photos) fortunately found his way out again.

The wooden picture frame was designed to become an extension of the window frame in the photograph.

Kirchenspiegelung 1.

Collection at Setouchi Aonagi, designed by architect Tadao Ando

Map of intelligence - A swing

La Dolce Vita

Knot

Map of intelligence

Installation View. 

Anen Maria Udsen

Exhibition SEE BEYOND

Global art center, Cesis in Latvia 2021

RESIDUUM - SOMETHING REMAINING

Runda verk med cirkelformet fotografi på återvunnet stål, 10 x 50 Ø - 70 Ø monteras på en rå fasad i en organisk form. Som en del av naturen är vi en del av den ömtåliga och oupphörliga processen, som förbinder liv och död. 

  

PRECIOUS

Stille

Viaggioattraverso 

Viaggioattraverso 2000 - 2015

Death Date

Tide pool reflections in Narragansett, Rhode Island. 

Reflections 

Seagulls in Narragansett, Rhode Island fighting the wind to get to their next destination. 

Fly High 

The calm after a hard day’s work of catching lobster. 

Lobstering 

Summer view of the Atlantic Ocean from the Cliff Walk in Newport, RI.

Tranquil Views 

Flamingo in the rain forest

The extensive, and negative, human imprint on our environment is often addressed in her art, and she continues to explore our perception of nature and its, and our, vulnerability when it becomes out of balance. Udsen presents new photographic works, where she searches for the idea of reality in nature. In a series of works, Udsen deals with archaeological classification and collection of objects from nature.

NATURES ARTEFACT I-III.

Udsen’s work holds great beauty, but she often explores a more sinister and menacing vision of nature. In her photographic series Distorsions, an intense observation of dried agave leaves and the light falling on them heightens the viewer’s attention to the thorny and tenacious plant with teethlike ridges. The sharp shadows that fall on the surface below visually become part of the plant like multiple black leaves, changing its shape and pushing the image towards abstraction. The distinctive agave leaves are still recognisable, but the subtle shift in shape and the close-up views of the wrinkles of the dried, leather-like skin and their sharp thorns add an almost threatening feel to the pictures. Arthistorican Lise Johanne Sinnberg

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