The present “Impressionisms” reintroduces the custom of French panorama portray from the late 18th century and into the current by using literal strategies of impressions and marks of pigment from recent wildflowers gathered within the city house of Copenhagen and acetone printing on birch plywood panels.


French Impressionist panorama work specifically of flower fields act as a prospect of the very place they had been conceived and never solely tackle the environmental consciousness of the time however likewise, embrace the political and aesthetic gaze constituted by which the minimal impression and fleeting photos had been congratulated in distinction to the predecessor of mounted and representational painterly practices.

These ephemeral photos signify not solely a shifted flip in artwork historical past but additionally a time when images and varied new industrial improvements had been a part of altering the narrative arts illustration and literal position right into a merely abstracted and wise expertise embraced by all creative fields throughout the Western artwork world, amongst different; composers, the humanities and crafts motion and the literary circles.

Greater than a decade later, as technological and industrial improvements proceed to evolve quickly inside an interconnected world context, the prevalence of fleeting photos persists and new methods could come up from this continually altering bodily and digital setting.

An setting that each globally and regionally is confronted with an pressing disaster of a reducing biodiversity, destruction of landscapes in favour of huge agriculture and an more and more evolving metropolis the place native communities are threatened and the place actual property industries defines the politics of land and the fields that they occupy. To embody and emphasise this notion and the definition of fields and categorisation of land, varied speculative grid-like figurations are transferred onto the panels with acetone, a previously by-product materials used as a solvent, to emphasize the territorial qualities and the same speculative notion of maps, fields and land. 


The gathering of flowers takes place from newly established flower meadows in Copenhagen initiated by the municipality by which new seed mixtures at 11 completely different areas are meant to create meals and shelter for bugs and birds as a part of a brand new plan to counterpoint native biodiversity.

The collected flowers are then stamped onto the panel for his or her pigment to soak up into the plywood and thus create and underline the geographical mark from the place they had been gathered and equally an abstraction of that very subject. 


The collection of 11 panels seeks to operate as a revised flower subject portray by which the flowers aren’t painted however reasonably, used for his or her pigment. The work intends to signify that very subject, following the trajectories and traditions of Land artwork the place the land or subject as a spot, idea and philosophical notion is represented in varied methods as a method; to know, ponder and partake in our frequent fleeing setting.
— Theodor Nymark

at AAAA Nordhavn, Copenhagen
till September 18, 2024