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Collapse View

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View

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View

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View

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Collapse 2024 hairextension (real hair) and iron 34 cm Ø

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Collapse close up

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The Mess we're In I & II 2024

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The Mess we're In I 2024 hairextension (real hair) and iron 74x33x6 cm

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The Mess we"re In 2024 hairextension (real hair) and iron 75x32x12 cm

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Interface 2024 silk, silkpainting, silicone and woodframe 78x38x2 cm each

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Interface close up

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Interface close up 

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Tectonic Shifts 2024 soil, polystyrene and glue 44 & 55 cm Ø

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Tectonic Shifts 2024 soil, polystyrene and glue 22 & 33 cm Ø 

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Tectonic Shift 2024 soil, polystyrene and glue 55 cm Ø

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Condition I 2024 silk, silkpainting and woodframe 35x68x2 cm

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Condition II 2024 silk, silkpainting and woodframe 35x68x2 cm

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Limbo 2024 240 cm Ø black velvet and wood 

Collapse

 Solo

LOUISE SPARRE

Text by Sara Duborg Døssing

Collapse lies sprawled anonymously on the windowsill, but I still think that it is creeping up. Like a funnel, it forms a spiraling hole with its brown hair reaching inwards and downwards. It collapses.

If the rest of the world had the same consumption of natural resources as Denmark, it would require 4.2 Earth globes. In Information, I have read that Denmark takes the place as the country with the 15th largest ecological footprint per person. Put it so that it is understood: We use more than we have, and the ultimate consequence will certainly be a bio-collapse, where the earth's resources no longer continue to provide, but disappear, never to return while we are here. So, perhaps the Tectonic Shifts sculptures are a harbinger or a metaphor for a planetary shift; a completely changed world? Perhaps it is four hollow globes where only a barren shell remains, a hard surface of brown and dead earth? The surfaces shift and the sculptures become abstractions of nature's changing processes as a terrifying foreshadowing of the future. I think of planets, the globe, meteors or cell death – the collapse of cells and the breakdown of structures. This brings me directly to my inner fear - a climate anxiety - for the sculptures stand for me as a kind of silent but direct reference to the 4.2 globes mentioned in the newspaper's ominous article about our overconsumption.

With the titles Tectonic shifts, The Mess we're In, Limbo and Condition, I feel subtly led towards thoughts about the world that surrounds me. And the state the world is in. Are we facing a climate collapse? What happens in the void called doubt? The fear? What happens if the oceans overflow and die out if they are drained of life? Are we heading towards our own finality? Are we heading towards the black hole, the void, Limbo, which stands before me with an overwhelming force. It absorbs the light and lets it disappear again into the black velor, the skin of the sculpture. It lets the darkness take over and forms an infinite space, perhaps a limbo phase? But what is inside the black hole?

The Mess we're In, two hair objects, form a direct line between humans and the resources we use so merrily. Like pincers or tweezers, the metal points sharply at me, while the hair falls softly, enticingly, and twists around the hard material. We have created the metal from the raw materials of the earth. But how long can we continue to take, pick and mine as we please?

Louise Sparre's work stems from a holistic way of thinking that everything is connected. Nothing happens in the world without affecting something else. We are all dependent on nature, the microbes, the bacteria, the animal and plant kingdom, the moon and the stars. We are part of an ecosystem that we must take care of in order to participate in it. Sparre's artistic expression is tactile. She creates visual, physical and poetic spaces for the contradictions found in the reflections on the natural scientific phenomena of the world. Opposite relationships that are emphasized by the compositions between the organic and the synthetic in her choice of materials; the natural and the man-made; the hair and the metal; the soil and the textile.

With the exhibition, which bears the same name as the work Collapse, Sparre emphasizes a necessity in society – an understanding of nature's and our dependence on each other – as a cry of helplessness that we should all listen to before the world as we know it has disappeared.

 

The exhibition is kindly supported by The Danish Art Foundation and Culturedevelopment Foundation

 

 

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