Artist statement
My interdisciplinary practice intertwines research and storytelling, primarily though sculpture as well as text, sound, and video – based on various of references, including esotericism, folklore, paganism, feminism, ecology, internet culture and technologies. The works merge associations found in history to our present - creating new constellations.
The process is research-based concerning artmaking, craft, materials, and their specific iterations in different social contexts, as well as different archiving and memory practices, in relation to a certain environment. Concept and materials are experimental and manifests itself as cheap, non-toxic, and sustainable materials, while latently staying between the traditional and the non-traditional in sculpture making. An increased curiosity towards local production, accessibility, and privilege. Finding source materials from phenomena, non-fiction, experiences, AI, etc. with the idea that historical elements can take shape through a series of cultural references and technologies by distorting trends – cutting, copying, and pasting different sources to create a pastiche of juxtapositions.
The composition of the works allows one to free oneself from epistemological structures, thereby opening the works. This encompasses an awareness and respect in imitation, as well as origin, but draws threads across culture, tradition, status, and age. In addition, there are repetitions and transformations of already existing sources – a sustainable approach with almost newly created iconographies, but also an approach that is fluid. The repetition and recognition are essential in the works to demystify, as the research is directly incorporated in the works – where a trust in familiar forms and objects enables the viewer to intuitively relate to the works. Following on from this, humor plays a significant role, as well as kitsch and pop aesthetics to loosen the layers of the reference ensemble. A kind of overload of materialism and cultures mixing, exactly as a reflection of modern society.
Sabine Wedege
Bio
Sabine Wedege (b. 1993, she/her, visual artist) lives and works in Copenhagen, Denmark, educated from Jutland Art Academy in Aarhus, Denmark, and the Faculty of Fine Arts, University of Arts in Belgrade, Serbia in 2021. Completed the educational curator program WHAT COULD/SHOULD CURATING DO? in Belgrade, Serbia, Frieze New Writers Programme at Bergen Kunsthall, and a researcher at The New Centre for Research & Practice, Art & Curatorial Practice, Seattle, USA. Shown works, i.a. Kunsthal Aarhus, Kunsthal Kongegaarden and Skovhuset Kunst & Natur in Denmark, Museum of Contemporary Art in Belgrade, Serbia, and Heerz Tooya in Veliko Tarnovo, Bulgaria. Attended artist in residency programs in France, Sweden, Bulgaria, and Serbia. Been published with critic writing, para-academic artistic research, and poetry respectively in Frieze, Triple Ambersand Journal (&&&) and Hvedekorn. She is also the curator at the platform RUM два, art mediator at Mockrelic, and part of the artist duo S&M with the Norwegian dancer Magdalene Solli.
Her interdisciplinary practice intertwines research and storytelling, primarily though sculptureas well as text, sound, and video – based on various of references, including esotericism, folklore, paganism, feminism, ecology, internet culture and technologies. The works merge associations found in history to our present - creating new constellations. The process is research-based concerning artmaking, craft, materials, and their specific iterations in different social contexts, as well as different archiving and memory practices, in relation to a certain environment. The repetition and recognition are essential in the works to demystify, as the research is directly incorporated in the works – where a trust in familiar forms and objects enables the viewer to intuitively relate to the works.