• Spatial Proximity of the city – Kirse Junge-Stevnsborg

    Date posted: June 18, 2006 Author: jolanta

    Spatial Proximity of the city

    Kirse Junge-Stevnsborg

    The focal point of Trine Boesen’s new exhibition, “Flowers Crack Concrete”, at the leisure club MOGADISHNI in Copenhagen is the city. Webs of everyday commodities encircled by buildings, houses, tents, and huts symbolizing at one hand our private sphere and at the other hand that we are never alone in the city. Someone is always close to us – living above, beneath, beside and across you. In her eight fresh paintings Trine Boesen’s characters live in a dubious state of security and paranoia. Observing and observed. Everyday city-imagery explodes chaotically around the main figure/figures. And in the middle of the city, flowers crack the concrete and disclosure poetic nature-imagery. The two universes exist simultaneously and create a nervous atmosphere of suspense. Trine Brosen seeks to twist the realm of private and public life, and what seems trivial. In the series The Girl, The City, The Couple – and The Gathering buildings, flowers, cars, sunbathers, wedding cakes, umbrellas, candles, butterflies, dart arrows, and spiders are evolved in greyish shades mixed with a few colors. Trine Boesen questions the power of – at the first sight harmless – everyday things by using them as indexes of clashing and cracking spheres. The triviality slits and Trine Boesen offers us a possibility of looking into the other side. As in her earlier works the paintings contain residues of a shattered psychedelic cosmos. This become more evident in the colorful and aggressive works, such as Cucumber Eyes (bluish), City Sleeper (greenish), Not on the Lips (pinkish), and Another Real World (reddish). Additionally Trine Boesen presents a series of delicate pencil, spray on paper entitled Neighbourhood Watch 1-10. All scenes from Trine Bosen’s city are related and combined through a stylized arabesque ornamentation drawn directly on the walls: a spatial proximity, which includes the spectator directly in the complexity and recognition of the familiarity of the figures in Trine Boesens universe.

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