Marie Torbensdatter Hermann

The work reflects on some kind of strange family of domestic objects, they are bound together by a form of action, something undefinable but with a hint of a purpose, As if they are there for one very specific reason, each with their small specific individual function, but on their own they are un-significant, it is as a group they become useful and self-sufficient. I really work with one object on its own, they are always a group and always in relation to another object. It is in the choice of groupinThe work reflects on some kind of strange family of domestic objects, they are bound together by a form of action, something undefinable but with a hint of a purpose, As if they are there for one very specific reason, each with their small specific individual function, but on their own they are un-significant, it is as a group they become useful and self-sufficient. I really work with one object on its own, they are always a group and always in relation to another object. It is in the choice of grouping certain objects with each other and in the spacing of them, that they come into existents. I also see a big part of my practise as an arrangement. Someone that arranges objects and creates small details, small snap shots, taken from a lager scenario. As if we have the time line in constant flux I make the decision on where to cut out one image and make that a memory of what ones existed, before it moved on to become something else.

Marie Torbensdatter Hermann