Current exhibition: RIVERS END – FIE NORSKER
In the exhibition RIVERS END, the works of Fie Norsker depict dreamlike scenarios where abstract designs, fantastical creatures, isolated body parts and symbol-laden landscapes unfurl and intertwine. The works span a broad range of media, from narrative representations in watercolours and dense drawings, to sparse painted landscapes and arrangements of simple ceramic figures. Despite the wide spectrum of narratives and media in RIVERS END – her most extensive solo exhibition to date – the works of Fie Norsker remain precise, consistent and permeated with an insistent yet humorous force.
Each room of the exhibition bears a distinctive colour rooted in the universe of Fie Norsker’s work, while site-specific installations emerge from walls and doorways to form portals and centrepieces, giving a physical presence to motifs found in the watercolours and paintings.
The serious and the quirky
Fie Norsker graduated from the Royal Danish Academy of Fine Arts in Copenhagen in 2006. Today she is a notable figure in the Danish art world with her characteristically quirky yet serious style. Her artistic practice builds on the Danish tradition of expressive landscape painting, as seen for instance in the work of J.F. Willumsen, combined with elements of Hieronymus Bosch’s fanciful narrative style, begetting a universe populated with elves, ghosts, trolls, owls and anthropomorphic figures and beings – a universe where the shapes and symbols comprising the background for these figures’ actions also hold the power to intervene in the representation of the figures themselves.
The portal is a recurring motif in Fie Norsker’s works, appearing in various forms, including coiffures, crescent moons and rocks. The meaning is never explicit and the form is never clearly delimited. On the contrary. The works of Fie Norsker continuously usurp and amend the bounds of meaning and form, often rooted in the use of two main symbols – the portal and the totem –associated with ritual transformations and transitions. The totem is also a symbol of physical and spiritual connection between animals and humans, further accentuating a physical and mental state of transformation. As such, the appearance of knots resembling eyes in ceramic tree stumps is not a strange coincidence, but an integral part of the logic borne by these works.
Fie Norsker actively employs repetition to transgress and reshape boundaries, a technique with the potential to clarify as much as it can distort. In the RIVERS END exhibition, repetition serves both purposes, so that the universe unveiled by her works – which we are guided through from room to room – remains continuously changing, surprising, serious and playful.
A richly illustrated exhibition catalogue, featuring text written by art historian Dina Vester Feilberg, will be published in late November.
Thanks to the Foundation of 28 February 1970 for the Support of Cultural Purposes.
The RIVERS END exhibition is supported by Statens Kunstfond.