With renewed versions of the ancient Greek Amazons, Sønderland skillfully leads us through graphic structures, deploying feelings of expansiveness, fear and beauty, where the protagonists, while sometimes cruel, captivate us by reflecting our own desires to escape reality. While firmly rooted in a Scandinavian setting, Sønderland’s intricate and stylized watercolours seamlessly merge with the magical girl subgenre of Japanese manga and anime, which includes figures like Sailor Moon and Princess Tutu. Borrowing an array of references, from the Norwegian illustrated tales of Asbjørnsen and Moe (19th century) to the illustrations of the Russian painter Ivan Bilibin (from the Art Nouveau period), Sønderland weaves her own feminine experience of coming of age in the 21st century. For Oda Iselin Sønderland, the folktale, too, can be considered a malleable material. This knowledge becomes a catalyst for the artist, opening a space for the viewer to insert their own construction into these renewed tales. Various marks adorn the surfaces of her sculptures-materials like sand and rust are delicately dusted over, left to bleed, pressed against or cutting through clay, creating shapes or figures that derive from vast swathes of myth and storytelling. For Veri, the familiar plasticity of the material opens up the potential to generate narrative impulse, creating sculptures through a variety of marks and layers that are reminiscent of the imprints we find in nature.ĭeeply sensitive to the cycles of decay and rebirth, her sculptures record this process through both the construction and transformation of clay, becoming ecosystems of their own. Malleable and resistant, clay has long participated in the development of cultures, through both utilitarian and ritualistic function. Both Sønderland and Veri contribute to this form of story-telling by creating new narratives sensitive to the time and age in which we live. Natural phenomena have long been reconciled through mythology by the poetic imagination, and as a generator of poetry, mythology can also be understood as a generator of art. Centered around the notion of transition, these works reveal the symbolic resonance of metamorphosis. Albania, American Samoa, Americas, Andorra, Antigua and Barbuda, Argentina, Aruba, Asia, Australia, Austria, Bahamas, Belarus, Belgium, Belize, Brazil, British Virgin Islands, Bulgaria, Cambodia, Canada, Colombia, Cook Islands, Costa Rica, Cyprus, Czech Republic, Denmark, Dominica, Ecuador, Estonia, Europe, Finland, France, Ghana, Gibraltar, Greece, Greenland, Grenada, Guam, Guernsey, Haiti, Hong Kong, Hungary, Iceland, Indonesia, Iraq, Ireland, Israel, Italy, Jersey, Kuwait, Laos, Latvia, Lebanon, Liechtenstein, Lithuania, Luxembourg, Macau, Macedonia, Malaysia, Malta, Marshall Islands, Mexico, Micronesia, Monaco, Montenegro, Montserrat, Nauru, Netherlands, New Caledonia, New Zealand, Norway, Oman, Panama, Philippines, Poland, Portugal, Puerto Rico, Qatar, Republic of Croatia, Romania, Saint Kitts-Nevis, Saint Lucia, Saint Vincent and the Grenadines, San Marino, Saudi Arabia, Serbia, Singapore, Slovakia, Slovenia, South Africa, South Korea, Spain, Suriname, Sweden, Switzerland, Taiwan, Tanzania, Thailand, Tonga, Trinidad and Tobago, Turks and Caicos Islands, United Arab Emirates, United Kingdom, Vatican City State, Vietnam, Virgin Islands (U.S.Projet Pangée is delighted to present Radiant Immensity, an exhibition uniting the watercolour drawings of Oda Iselin Sønderland (Oslo, Norway) with the ceramic sculptures of Laurence Veri (Montreal, Canada).
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