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• Wandel, Maria

  maleri, tegning, tusch, tekst, vægmaleri, filmmaleri sensualitet portrætter tekst

  maleri, tegning, tusch, tekst, vægmaleri, filmmaleri sensualitet portrætter tekst Minimer

• Weck, Ulrik
• Wehding, Ragna
• Wellm, Susanne
• Wendt, Theis
• Wengel, Nina
• Werdelin, Anders
• Werner, Agneta
• Wessel, Jan
• Westerberg, Cecilia

  I graduated from Chelsea College of Art, London, 1999 with a degree in painting. More recently I have concentrated on digital medias. My areas of interest include 2-D animation installations, video, artist books, drawing and painting. The use of line drawings is a method that runs through all of my work. Additionally, my approach to any new productio Read more

  I graduated from Chelsea College of Art, London, 1999 with a degree in painting. More recently I have concentrated on digital medias. My areas of interest include 2-D animation installations, video, artist books, drawing and painting. The use of line drawings is a method that runs through all of my work. Additionally, my approach to any new production is thematic. In my work, I try to create openings/gaps into our personal and shared memories - which is one way of nudging to the accepted cultural norms involving time, identity and history. Another of my concerns, and a theme that correlates to my fascination with Time, is the development of a narrative language; Time passing, moving in circles, or time that moves in a parallel world or passes in slow motion. Examples of some of the recurrent motifs I use in my investigations are: categories of Time that break up its’ linear course and those which are anchored and marked through the passing of generations. A special interest for me is the paradoxical juncture between linear time, which can be measured and sensual, emotional time which is purely subjective. The clash of ‘inner’ and ‘outer’ time. Minimer

• Westh , Marie Rømer

  I mit arbejde beskeftigerer jeg mig gennemgående med individet og det offentlige rum. Forholdet mellem representationen af os selv som individer og hvordan vi formidler det til fællesskabet. Min kunst omfatter forskellige medier: Video, fotografi, installation, tegning mm.

  I mit arbejde beskeftigerer jeg mig gennemgående med individet og det offentlige rum. Forholdet mellem representationen af os selv som individer og hvordan vi formidler det til fællesskabet. Min kunst omfatter forskellige medier: Video, fotografi, installation, tegning mm. Minimer

• Westman, Inge Lise
• Wilcke, Torgny

  The beauty and poetry lies in the complex activity of looking which involves pure retinal sensation as well as preconception and reference (Opie). “Length to Blocks - That’s Beat” is about combining the direct working process of painting with a complexity of reading open to personal reference which takes place when you are confronted with something. I Read more

  The beauty and poetry lies in the complex activity of looking which involves pure retinal sensation as well as preconception and reference (Opie). “Length to Blocks - That’s Beat” is about combining the direct working process of painting with a complexity of reading open to personal reference which takes place when you are confronted with something. I want the form to be familiar, knowable, open, workable, playable, and to be modular and fragmentable both in actual fact and idea. I like painting because it is simple and direct. I want to build paintings directly like moulding concrete and bricks, like building walls and houses. I want fragments with a factual clarity to combine into a painterly and elemental quality. Fragmented structures and series that are flexible and open to place and time and persons. Flexibility gives space to the viewer just like the very different possible spaces, homes, persons that can fit within the modular set up of the Swedish IKEA home/office solutions. And modules, bricks, blocks, and lengths of lumber, or similar materials are flexible to building many kinds of walls and spaces. The paintings are not functioning walls, houses and storages, but may have a narrative space more realistic than the (almost) completed constructs. The fragmented paintings, though extremely concrete, may set up a narrative - a narrative different from storytelling and literary reference, but maybe close to the bits of broken narratives experienced in modern world The paintings are open, and the fragments are open to individual sampling and lack the clear narrative known from a balanced story or painting. Minimer

• WILLIAMS, PERNILLE KAPPER
• Wilmont, Barry Lereng
• Winckelmann, Mette
• Winther, Gitte
• Winther, Rikke
• Wittrup, Ebbe Stub
• Wolsing, Thomas
• WOOLOO

  Wooloo (Sixten Kai Nielsen & Martin Rosengaard) 1978 & 1979, Denmark. Lives and works in Copenhagen and New York. Wooloo (founded 2002) is a networked artist group operating through the online community www.wooloo.org. Mixing digital communication with physical participation, Wooloo has developed a working method based on the advocacy of collectivity. Read more

  Wooloo (Sixten Kai Nielsen & Martin Rosengaard) 1978 & 1979, Denmark. Lives and works in Copenhagen and New York. Wooloo (founded 2002) is a networked artist group operating through the online community www.wooloo.org. Mixing digital communication with physical participation, Wooloo has developed a working method based on the advocacy of collectivity. While the Wooloo website currently connects the resources of more than 13.000 cultural producers in 140 countries, the group's various projects function as social experiments in direct collectivism. Recently, Wooloo organized the housing of three thousand activists with private families during the UN climate change summit in Copenhagen. Supplying the infrastructure for visitors to come and voice their opinion - and for strangers to share their homes and experiences - the Wooloo project was a large-scale exercise in communal cooperation. Minimer

• Worm, Lars
• Würden, Carsten von
• Wæhrens, Maria
• Wörsel, Troels