Mens Hanne tenkte bitre tanker om familien hennes, ringte telefonene.
In the present exhibition Jeppesen has been preoccupied with the awareness that everything breaks down at some point, after which something new is created. This is a natural part of our world which is inevitable — whether we like it or not.
In his work Jeppesen has been fascinated by the decomposition process in ponds and how they form part of the natural environment. The pond represents a process in nature that is not affected by human beings: As an extension of this theme Jeppesen has created a number of glass tanks in which cloth is stretched in the middle of the tank, after which the various tanks have been filled with a clear liquid.
The stretched piece of cloth starts to float inside the tank and creates references to another element in the exhibition — a study of hands that have been transferred from negatives to linen using the cyanotype process.
The hands are separated from their bodies and thus also create a floating illusion like the cloth in the tanks. The glass tanks in the exhibition show a distortion of perspective which gives rise to questions and a sense of wonder about what we are actually looking at.
What is hiding there in the darkness? We do not always have to explain everything; sometimes it is a matter of letting our visual sense guide us and perhaps lead us to an understanding.
In the expression of the tanks a duality arise that arouses discomfort but at the same time seduces us. The lovely material which both floats and is stretched out and confined is alluring and in a way beautifully melancholy. From this long journey came a series of melancholy, atmospheric landscape images which have been exhibited in among other places the National Museum of Photography in Copenhagen.
Foam presents five recent series: These series are the result of a solitary day journey from the North Pole to Antarctica.
The journey has left visible traces and blemishes on the photographs. His photographs are the product of physical challenge and experimental printing techniques. He abandoned his search for the perfect print in favour of cheap reproductive techniques and mass production.
At a time when the image has become infinitely perfectible and reproducible, Jeppesen experiments with the photograph as a unique object that is subject to the forces of change and decay.
Jeppesen experimented with this technique on his studio wall, initially with no other intention than to find the ideal print size. He soon realised that the process of creation was as important to him as the final print.
Jeppesen used the same plate multiple times in succession, without re-inking it between prints, producing a fading image that leaves but a shadow of the original landscape.
The artist printed the images on rice paper and folded them multiple times, as with a map. By carefully dissecting and recycling his own waste material, the artist attributes new meaning to the otherwise unnoticed and abandoned.
This exhibition is made possible with support from the Danish Arts Foundation. The Pond an excerpt.Hvad er et godt liv essay about myself; slide about us March 30, 0.
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