Printer’s Proof is proud to present an online group exhibition that brings together graphic works of Anette Harboe Flensburg, Julie Sass and Mathias Malling Mortensen. Those three Danish artists represent three different decades and three different approaches to the investigation of time and space. The exhibition features monotypes, etchings and photogravures recently published by the studio.
Anette Harboe Flensburg is famous for her monumental interiors. Designed as geometric patterns formed out of a grid of vertical and horizontal lines, of light and shadow Flensburg’s works communicate depth from a flat surface. Those still, quiet, empty spaces are used by Flensburg to make a reference to the real world and at the same time lead the viewer towards a metaphysical realm. Her photogravure project allows the spectator to have a glance into the backstage of her work as a painter. The photo-based graphic work creates a dream-like reality in the maze where our gaze wonders through the spaces searching for an exit.
Describing her work process Julie Sass states that each element in her work leads her to the next. Shifts in shapes and colours give her work the feeling of being in a state of flux, and even though it seems the balance she achieved is momentary, Sass manages to build a sense of harmony in her compositions. Her painterly work consists of overlaying partially transparent layers with geometric forms. The interrelation between those forms is also at the core of the artist’s exploration in her first etching project. Here Julie was able to form the partial transparent layers with the help of different printmaking techniques – aquatint and chine-collé.
In his work, Mathias Malling Mortensen plays with the delicate tension between two and three-dimensionality. The work balances on a thin line where the flat surface of a canvas or a paper sheet acquire depth. Preliminarily drafts are always the starting point of Malling Mortensen’s work in which he, however, seeks to achieve a sense of spontaneity. The translucency of his brush stroke and the glassy qualities of his paint give almost a ceramic quality to his monotypes.