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An impossible meeting, A4 paper (80 g. thickness) and glue, Emily Tsingou gallery, London 2004.
Butterflies trying to escape their drawing, A4 paper (80 g. thickness) and glue, Emily Tsingou gallery, London 2004.
Half Swan, A4 paper (80 g. thickness) and glue, Emily Tsingou gallery, London 2004.
Impenetrable Castle, A4 paper (80 g. thickness) and glue, Emily Tsingou gallery, London 2004.
18,2 cm tall Tower of Babel, acid free A4 paper and glue, Emily Tsingou
gallery, London 2005.
Bridge over troubled water, acid free A4 paper and glue,emily Tsingou gallery, London 2005
These works is from a series of paper cuts/sculptures arises from a universe of fairytales and romanticism, here especially from the Steadfast Tin Soldier by Hans Christian Andersen, in which a tin soldier falls in love with a paper ballerina, living in a paper castle.
My paper works has lately been based around an exploration of the relationship between two and three dimensionality. I find this materialization of a flat piece of paper into a 3D form almost as a magic process - or maybe one could call it obvious magic, because the process is obvious and the figures still stick to their origin, without the possibility of escaping. In that sense there is as well an aspect of something tragic in most of the cuts.
I find the A4 sheet of paper interesting to work with, because it probably still is the most common and consumed media and format for carrying information today, and in that sense it is something very loaded. This means that we rarely notice the actual materiality of the A4 paper. By “removing” all the information and starting from scratch using the blank white 80 g. A4 paper as basic for my creations, I feel that I have found a material which, on one hand, we all are able to relate to, and which on the other hand is very neutral and therefore easier to fill with different meanings.
The thin paper gives at the same time the paper sculptures a fragility which underlines the tragic and romantic theme of the works