Armature is a site-specific sculpture developed for a permanently darkened window at Fotografisk Center in the Brown Meatpacking District - an area described in a safety survey as a “non-place.” The sculpture is hand-welded from steel lengths and structured as a grid referencing darkroom cropping frames. Functioning simultaneously as barrier and opening, the work points to the history of photography while addressing the site’s ambiguous ownership and function. Integrated into the building’s architecture, the sculpture transforms an inaccessible space into a visual and conceptual filter.

Tongue is a silver cast of the cavity inside a dog whistle, the invisible column of air that produces a sound beyond the range of human hearing. By giving form to the inaudible, the work makes visible forms of communication that exist outside language. The sculpture is cast from inherited, re-purposed jewellery, linking immaterial sound to personal and material lineage.

Anti-Object is a site-specific sculpture examining how public space is regulated through design. The work takes its point of departure from the Camden Bench, developed for the London Borough of Camden to prevent lingering, resting and undesired use. By isolating and materialising the bench’s formal logic, the sculpture exposes a hidden ideology in which public space is designed for productive movement rather than so-called “anti-social” behaviour. The work was developed for the exhibition Wet, Work at Fabrikken For Kunst og Design, located at Sundholm - an area shaped by both social care functions and pressures of gentrification. In this context, the work operates as a critical reflection on who public space is actually designed for.

Roses is a site-specific installation consisting of three monumental roses placed on a rooftop at Roskilde Festival. The fragile flowers (three different varieties: Undercover, Explorer and Sexy Red) were 3D-scanned, CNC-milled and subsequently cast in aluminium, transforming their organic forms into industrial objects. The installation explores the relationship between the monumental and the ephemeral, functioning as a physical, enduring gesture in contrast to the festival’s temporary character.

A Mouth Full (q) explores the tension between language as structure and as body. The sculpture’s form refers to the negative space of the letter “q” while simultaneously resembling an open mouth. Inside are six silver casts of cherry stones sucked clean, pointing to the sensuous and rhythmic dimensions of language. The work connects typography with the labour of the mouth and frames communication as a physical and instinctive act. The sculpture was installed in a former public bathhouse in Kolding, where its bodily reference entered into dialogue with the site’s architecture and history.

The work is part of an ongoing series in which I collect soap remnants from the female side of my family and cast them in bronze. This sculpture was installed in the gallery’s bathroom, where the bronze reacted with the humid environment and patinated over time. The work functions as an anti-monument, preserving the everyday, the intimate and the ephemeral within a traditionally monumental material. The series explores care labour, inheritance and materiality.