On view until January 4
The sculptures and installations of Signe Solberg are imbued with a distinct dynamic. The crisp rhythm originates in Solberg’s process. Every (triangular) piece that each work consists of, is made by hand. Without preconceived ideas, without sketches or measurements, Solberg intuitively follows her material. She takes whichever piece comes next, and one always leads to another - like domino pieces tipping over, one after the other. In a near meditative state, she cuts and puzzles them together. At first sight, the result might look perfect. But on closer inspection, it is the imperfection both in the individual pieces and between the pieces that stands out. The cracks, the gaps, the scratches. The interruptions in the repetition. The unexpected notes in a harmonious melody that make it come alive.
Solberg’s works are abstract, open invitations for viewers. Whilst she definitely references geometry, modernist architecture, landscapes or even (tectonic) planes, she avoids a singular narrative. The titles of her works might suggest otherwise, but they are no means of interpretation. They are random snippets of daily life, like quotes of her children. More than an explanation, they are a (personal) reminder of a time and a place.
What is at the heart of her practice then is the materiality of the works. Solberg has mastered physically challenging materials, such as steel, aluminum, glass, brass, brick and stone. By manipulating them and combining them at different angles, she orchestrates an interesting play on perspective. The works reflect their surroundings, echoing every movement. Simultaneously, daylight impacts the perception of the works and brings out details you might not notice.
Moreover, these materials have a subtle threatening quality to them, as opposed to the softness and vulnerability of the human body. They are typically considered industrial, sterile, rough, cold. Solberg gives them another role, by putting fancy marble on the floor for example, and layers them, by adding aluminum on steel. She exposes them to external influences and natural forces. Hence, she creates a unique patina, depth, life.
However, in this show, she uses a material that is alive in and of itself. For the first time, she uses (ply)wood - a warm, calm material. The stained wood in maroonish hues stands in stark contrast to the man-made metals. This especially comes to the fore in the two big wall pieces on show. Yet, however different their appearances, their conceptual underpinning is the same.
Two sculptures are made with solid Norwegian oak, cut by Solberg’s father at their farm ten years ago. It goes to show how much care and attention Solberg puts into collecting and selecting materials. The provenance of the materials comes into play when constructing these works. Additionally, it shows how she embraces material reuse, without making sustainability a goal as such. And how the personal and the professional are inextricably linked, yet again.
Working on a large scale comes naturally to Solberg, but, much like a scientist, she has been experimenting with smaller scales. The self-imposed boundary of a traditional art format condensed, or intensified, her ideas. Within the portrait-sized frame, she found freedom. Chaos within containment.
With the sculptures-stools, Solberg has challenged herself again. They are made with the same materials, by the same hands, in the same line of thought, but you can interact with these works. You can sit on them and feel them up close. The other wall-mounted pieces you have to view at a distance and you cannot touch them. Solberg seems to ask: “Why is there this hierarchy, and how does it work?”
Whilst continuously pushing her practice forward, all the works in the exhibition attest to Solberg’s coherent development. The works share the same visual language that she has been developing for the past decade. They are all part of the same soundtrack. And you will hear the sound of these domino pieces long after.
Text by Eline Verstegen
