Two parts, 80x140 cm each.
Holder huller (Holds holes), 2024, Glass, bleached beeswax, soap, dirt, tin.
Two parts, 80x100cm each.
Spyt tunge trin (Spit heavy steps), 2024, Glass, bleached beeswax, pigment, hair, gravel, tin.
Two parts, 40x140 cm each.
Smelter sladder (Melting gossip), 2024, Glass, beeswax, pigment, rain, dust, whisper, tin.
Two parts, 80x100 cm each.
I lommer (In pockets), 2024, Glass, bleached beeswax, pigment, glue, dirt, tin.
Two parts, 40x60 cm each.
Tegner tæt luft (Draws dense air), 2024, Glass, bleached beeswax, burnt beeswax, chewing gum, scribble, tin.
Two parts, 80x140cm each.
Photos by Brian Kure
www.cecilieskov.com
Hung flat against the wall, these works assume the character of screens and pages - touchscreens, notebooks, teaching boards, speech bubbles, or windows. They reference ancient Roman wooden tablets whose hollowed-out board was filled with wax and scratched upon to sketch or write ephemeral notes. The surface could be cleaned by melting and smoothing the wax, thus creating a ‘new page’ ready to be used again. This process is where the term ‘tabula rasa’, which translates in English as ‘clean slate’, originates from.
Throughout the staircase, the sculptures follow the contextual lines of the architecture: some elements are raised up to the ceiling while others are cut to accommodate a window. Tin brackets, moulded from the cast of handprints, assume the form of vertebrae and track the movement of the children’s bodies around the building, grasping onto the brass handrail as an anchor of sorts in the school’s everyday life.
Text by Jes Fernie