While working at punk music venues as a teenager in Copenhagen, Rose Eken developed a fascination with concert detritus. The objects she was made to clean up after an event—cigarette butts, drug paraphernalia, beer cans, discarded clothing, and lost cell phones—became emblems of punk rock culture, which she now reproduces in the form of hand-painted ceramic miniatures. Sculpting objects found in concert halls, kitchens, and similarly ubiquitous locations, Eken methodically places replicated detritus in a grid, suggestive of scientific categorization. Her arrangements assume an anthropological quality, documenting and preserving the relics of a culture and celebrating a history in process. While Eken also produces embroideries, drawings, and videos, she favors clay for its versatility and clumsy form, as shaping and firing warp the object along the way, resulting in unforeseen and unpredictable imperfections.