Cool Construction: Innosite
(privat)
By installing a 30-by-4-metre image depicting partially snow-covered mountains as seen from the sea, the wall responds in kind, challenging our perception of the space. The square or passage is conceived and perceived as larger than it actually is. This effect operates not only on a spatial level, but also in relation to movement through the city and the associations this evokes with the construction site itself: the expansion of the Copenhagen Metro. The image invites thoughts of movement, destinations, and the possibilities that lie at the end of a journey.
The fact that the print is presented in a mirrored orientation — with the sea at the top and the sky at the bottom — further emphasises the idea of the Metro travelling beneath the ground along this particular stretch.
The artwork itself operates on two levels, and two distinct scales. The first of the two scales is that of the image as a whole: a clearly defined landscape spread across the printed surface. The second is more detail-oriented. The entire image is composed of thousands of small dots, printed in varying sizes and shades of grey. The other of the two scales, are when the viewer stands close to the wall, the image reveals itself as a more abstract composition. Stepping further away, again, allows the landscape to emerge as a coherent whole, revealing the full scope and impact of the image.
In these ways, the artwork seeks to articulate not only what lies behind the wall, on the other side, but also to complement the existing public space. It gestures towards a broader context, suggesting connections and relationships that extend beyond the artwork itself.
Thirdly, the graphics are borrowed from the cover of the great artist, Thomas Köner’s album, “Permafrost”, which again suggests something bigger than what is directly in front of you, specifically in order to affect this narrow space to encompass something bigger, temporarily.
(privat)
By installing a 30-by-4-metre image depicting partially snow-covered mountains as seen from the sea, the wall responds in kind, challenging our perception of the space. The square or passage is conceived and perceived as larger than it actually is. This effect operates not only on a spatial level, but also in relation to movement through the city and the associations this evokes with the construction site itself: the expansion of the Copenhagen Metro. The image invites thoughts of movement, destinations, and the possibilities that lie at the end of a journey.
The fact that the print is presented in a mirrored orientation — with the sea at the top and the sky at the bottom — further emphasises the idea of the Metro travelling beneath the ground along this particular stretch.
The artwork itself operates on two levels, and two distinct scales. The first of the two scales is that of the image as a whole: a clearly defined landscape spread across the printed surface. The second is more detail-oriented. The entire image is composed of thousands of small dots, printed in varying sizes and shades of grey. The other of the two scales, are when the viewer stands close to the wall, the image reveals itself as a more abstract composition. Stepping further away, again, allows the landscape to emerge as a coherent whole, revealing the full scope and impact of the image.
In these ways, the artwork seeks to articulate not only what lies behind the wall, on the other side, but also to complement the existing public space. It gestures towards a broader context, suggesting connections and relationships that extend beyond the artwork itself.
Thirdly, the graphics are borrowed from the cover of the great artist, Thomas Köner’s album, “Permafrost”, which again suggests something bigger than what is directly in front of you, specifically in order to affect this narrow space to encompass something bigger, temporarily.
