Artist Anne-Sofie Overgaard graduated from Jutland Art Academy in 2016. She was an exchange student at Bergen Academy of Art and Design in 2014-2015. As an artist she explores temporality and narrative forms in an interaction between physical materiality and more intangible digital processes. She mixes various physicalities and aesthetic perspectives and draws on knowledge from different historical traditions in visual art and textile crafts, particularly weaving. She is very interested in the history of weaving. Where weaving has traditionally been seen more as a woman's craft, she uses it as an artistic medium today. Drawing, digital graphics and installation are also central media in her practice.
The work “No Body” is made for the exhibition “Anybody”. The digital pattern that covers the textile piece is an output from a computer program that was a part of Anne-Sofie’s interactive installation "Zero-player". The digital patterns that emerge from the program are based on the development of physical or natural organisms. In this piece, the digital pattern is twisted around a black hole and, along with the synthetic texture and the pleated volume, it takes over and alienates the "natural body”.
Designer Cæcilie Dyrup’s work is driven by the desire to create beautiful objects with a purpose. She strives to bring humour, stories and poetry to her colourful visualisations, and uses illustration as her most effective tool of expression.
She holds a Master’s degree from Kolding School of Design and completed a semester at Kingston University in London.
With a strong interest in commercial fashion and how it may be challenged, she has done internships at H&M in Stockholm, Munthe in Copenhagen and Rebecca Minkoff in New York.
Cæcilie’s work explores the intersection between abstract concepts and the importance of functional clothing. She is fascinated by the investigation and exploration process of design, the convergence of 2D and 3D elements, and how these interact with the body.
For the ”Anybody” exhibition, Cæcilie has created a piece titled ‘The Shell’. It tells a story about exercising restraint despite a desire to break free from expectations. The Shell addresses her concern for a society that is highly influenced by social media and its unachievable standards for what is considered ‘beautiful’. The garment depicts a deformed body covered in what appears to be an imitation of nature trying to burst out from inside.
It challenges what is and isn't natural and asks the question: Are other people’s perceptions of beauty so important that they should affect how we feel about ourselves?
Emilie Grubert is a Shanghai based designer, academic leader and lecturer at Shanghai Institute of Visual Art. She received a First-Class Honours degree from Central Saint Martins Women’s Wear in 2008 and a Master’s Degree with Distinction from The Royal Danish Academy of Fine Arts and Design in 2014. She trained under illustrator and women’s wear pioneer, Howard Tangye and fashion designer John Galliano in Paris. Her own work covers collaborations with fine artists, theatres, designers and choreographers in London, Copenhagen, Stockholm and Berlin. Her aim is to continuously explore the possibilities of design as a tool for storytelling. An ability to approach any given word, concept or question as a design assignment, visualised in various forms of textile based 3D illustrations.
The contribution to the exhibition Anybody is a visualisation of the human body melting together with the actual internet. How we exchange human interactions with digital ones, forget ourselves and deteriorate into this madly constructed virtual reality. We are members of The Bend Head Tribe, staring through a window into a world where everything has a porn, where cute cats do funny things, where 12 year old girls live stream their own suicides, where you can find 26,900,000 pancake recipes in 0.49 seconds, watch extremists behead people next to an advert for horny girls in your area, listening to Enya, whilst ordering a dead body from Russia. The sad truth about the internet: You love it, but it doesn’t love you back.
Esben Weile Kjær
Esben Weile Kjaer (1992) has been a prominent figure in Scandinavian youth culture since the age of 16. Through poetry, installation and performance art, Esben takes “the party”, branding and staging into the art space. As a queer activist and DJ, Esben has played in most parts of the world – from raves in Russia to fashion shows in Paris. He is a graduate of The Rhythmic Music Conservatory in Copenhagen (2015) and is currently a student at Funen Art Academy. He has recently shown his solo exhibition at Politiken’s Gallery and is currently showing at Oslo10 in Basel.
Mascot for an art practice
Esben wants to create a mascot for his practice. He is very interested in the mascot as a single body. In a sports context, a mascot is a visualization of a collective identity, and in an advertising context, the mascot becomes the face for something as complicated as an entire company. What does a mascot mean for an art practice? This is what he has set his mind on finding out. He will investigate what potential a mascot holds in an art context.
Can the mascot be the face of a collective art practice? And will it give more freedom to create art from a fictitious place, meaning that there is no class, gender, color, etc.
Fjord Ruby is a design company working with both garments and jewelry. Nanna Fjord and Caroline Ruby, who founded the company in May 2016, hold master’s degrees in fashion design from Kolding School of Design. The creative vision for Fjord Ruby is to create desirable objects and collections that are both understated and exaggerated, amusing and sophisticated.
To Fjord Ruby, design is about exploring the field between opposites and challenging our view on aesthetics by forcing opposites together. They have a common interest in the body and how to work with and around it. Especially the process where 2D materials are formed into 3D shape hold their interest. Working with the relation between 2D and 3D adds a naive and playful expression to their work.
For the exhibition “Anybody”, Fjord Ruby have created two dependent pieces under one name: “Imaginary Friend”. They examine the common understanding of the human silhouette and how the clothes we wear present our bodies.
The most obvious function of clothing is to improve the comfort of the wearer, by protecting the wearer from the elements.
For this project, they have worked with the body as an object that needs protection. Based on a claim that clothing provides you with protection on more than one level, Fjord Ruby worked with the thought of the “imaginary friend” as some kind of faithful companion for life and in this project attempts to embody the imaginary friend and its function as protector.
Big Thanks to Mathilde Førster who helped creating the hat for the costume.
We flicker around in a world full of new choices, new opportunities and it all gets blurred because you cannot see yourself in such a place! Sometimes you need to find your way back to your roots to find inner peace. Settle down and get rooted to the ground. My work is about finding your place in the world and digging your roots into the ground. Even though it may look blurred from the outside, you can turn inwards and find your own place and be rooted. The roots, elastics and hair will move around creating a blurry look, but the human being underneath is firm and calm.
Liselotte Hornstrup earned a professional degree at Via University College in Denmark and proceeded to complete a Master of Arts in Fashion Design at Kolding Design School. She’s an advocate of sustainable design with a strong focus on better use of resources and recycling. Her strength lies in the crafted processing of materials, which appears in a reflective and creative design process. Her designDNA is centered on the strengthening of the individual and leaves space for free expression. The identity is monochrome and dark with a lot of raw edges and leather details. Her design is based on continuous development and not renewal and dismissal. Today, Liselotte Hornstrup owns her own design studio and works as a self-employed designer on the new brand / Liselotte Hornstrup.
Marie Munk (b.1988) examines the materiality of physical interaction and artificial simulation of intimacy. Using silicone as a metaphor for the body, Marie creates alternative realities, questioning current tendencies in society. Marie Munk graduated from the Royal College of Art in London in July 2016, having studied MA Mixed Media. Before RCA, Marie studied fashion design at Kolding School of Design. Marie is working with artist Stine Deja on an exhibition called ‘Synthetic Seduction’, which will be shown in Denmark and London. She has developed an art performance for Interact Lab, exploring the artistic possibilities of the levitation effects of the innovative technology ‘Ultrahaptics’. Her work has been shown in galleries in London, Rotterdam, Copenhagen and NYC.
Our body holds our mind, which is constantly pushing the boundaries of the body and exploring new territories for the extension of the body's identity. This tension has only been reinforced in the virtual world where our minds can go wandering, without the flabby gravity of the body to hold it back. With virtual reality we enter a posthuman approach to the human, challenging our carnality. The body has become liquid and editable, dissolved into carefully selected and vehemently retouched fragments. Do we feel trapped in our physical form in a world where it seems more natural to represent ourselves through an avatar or a photoshopped version of our innate appearance? Where our biological form seems to hold back our freedom?
Marie Sloth Rousing
The creative vision for designer Marie Sloth Rousing is to build up concepts and create shapes challenging our idea about fashion. Her background is a bachelor from Kolding School of Design in fashion and one exchange semester at Design Academy Eindhoven in The Netherlands. By mixing media like film, installation and performance she aims to tell stories with materials and shapes. These themes have been explored at an internship at Henrik Vibskov and currently at an internship at Bart Hess.
The Distorted Modulation
As a part of the exhibition “Anybody” Marie Sloth Rousing has created a piece “The Distorted Modulation” which tells a story about how we modulate our bodies in modern time. The piece shows a uncontrolled modulation and thereby calls in the question; what happens if we enlarge and reduce other parts of the body then the norm. By using magnifying glass as a part of the textile she created a piece that commons on the way we perceive the body. The Magnifying glass is build into the shapes around the body and thereby enlarge and reduce body parts shown through the glass.
Nanna Bernholm likes the unexpected, the beauty in what’s ugly and finds comfort in chaos. She loves to tell a story and finds pleasure in provoking one’s idea of something being a certain way. Nanna Bernholm graduated from Copenhagen’s Fashion Design Academy in 2012 and has been shaping her style as a costume designer in many different types of projects such as music videos, theatre, film, tv and stage performances. She is working towards her first show, which will be presented in 2017.
Flesh in Porcelain
I created this "Flesh in Porcelain" creature that became a symbol of an emotion, a dream, a theatrical feeling of being trapped in a place you don't want to be (maybe a disconnect to your own body, a disconnect from your roots) – asking how you feel in your body. Shaping a form into a story, playing with big, overwhelming body parts, pushing shapes into abnormality and moving boundaries. I wanted to make something "BIG" and totally out there; dramatic, screaming for attention and pushing this human body shape we know into this strange, but sensitive dream creature.
Olly van Huizen
Olly Laurence van Huizen’s creative vision is to build concepts around phenomenon that he observes and ask questions about our perception of luxury, adventure or beauty. He likes to translate these concepts into form and rethink functionality, explore the construction of shape and the manipulation of pattern. To him, the creative process is very much connected to the production process. Olly likes to pay extra attention to figuring out how things are made or finding new ways of making them. Currently he is working on his master’s graduation fashion collection at Design School Kolding. He is specialising in women’s wear and holds a great interest in luxury fashion, something he has further investigated trough his internships at Bruuns Bazaar in Copenhagen and Claes Iversen in Amsterdam.
The big skin suit
For the exhibition "Anybody", I am looking into the transformation of the body and our perception of beauty during the aging process. When we age, our body transforms. Some body parts become more exaggerated and some disappear. Eyebrows grow longer and wrinkles may appear. Hair thins out and skin will sag. What will we look like in the far future, as we are able to become older and older? Today, a person can live up to even one hundred years. In the future we may become much older. Possibly the human body ages and transforms so much, that it will be hardly recognisable as human anymore.
Siff Pristed wants to live in a world where people dare to dream out loud. With an MA in textile design from Design School Kolding and a history with Moonspoon Saloon, she tries to challenge the boundaries of fashion by transforming textile studies and experiments into unique pieces.
Odd One Out
Siff has a project-based approach to design and works with strong concepts, trying to create a powerful and narrative universe around her designs. Her interest in tactility, patterns, techniques and aesthetics is clearly the foundation of her projects, and the shapes on the body arise from that. Siff calls herself a textile expressionist and explorer, and her desire to experiment and investigate is the power of her creations.
Design duo Stinemai
Stine Jørgensen has a background in tailoring and architecture, while Mai-Louise Klinkwort is a self-taught scenographer and costume designer. Both hold bachelor’s degrees in fashion design. Since crossing paths in 2012, they have worked inseparably. Stinemai work in a monochrome and genderless landscape, where handcrafted knitwear and contrast filled materials often play an important role. The design duo seeks to create a sublime experience by diving into a melancholy and poetic universe, aiming to stimulate the recipient visually as well as in a tactile manner.
The word pupa is derived from the Latin pupa, meaning doll, and refers to the pupa’s immobility. Using the pupa (the cocoon) as a transformation component, the pieces seek to create a genderless body. It is a search for liberation from gender, letting go of gender markers and providing room for an aesthetic that incorporates the modern individual. The pieces create a canvas for the future other – a liberation of gender and the most substantial identity markers of human beings – through a metamorphosis.
Sandermann is a new womenswear label based on a sustainable concept, using only up-cycled waste materials. Behind the label is designer Stine Sandermann, a recent graduate of the MA Sustainable Textile Design course at Chelsea College of Arts in London. During her BA and MA studies, she gained greater insight into the fashion industry – which is today the world’s second most polluting industry next to the oil industry – and chose to change her approach to designing and never go back to doing conventional fashion. Besides focusing on waste management, the Sandermann design philosophy builds on the principle of a unique and fashionable statement for the daring and playful individual who loves colour.
All That Glitters is Gold
The garment shown at the “Anybody” exhibition is a showpiece developed alongside the Sandermann debut collection, “All that glitters is gold”. This collection takes its inspiration from the excess of chewing gum lying on the streets of big cities. The project concludes that at the end of its use, chewing gum is thought of as an insignificant thing, spit out mindlessly in the townscape, becoming a decoration. Perhaps this decoration resembles how we drown ourselves in materiality and consumption and thus this garment asks: What if we treated our bodies the same way?