Inside Out
Inside Out, 2013, sand cast glass, 260cm X 120cm. Holstebro Kunstmuseum.
I am fascinated by the lines, volume and movement in bones, and this is my starting point for the interpretation in glass. Inside Out consists of 6 large, individual, but related transparent cast pieces, where the inherent quality of the glass, such as transparency and the contrast between sand cast and polished surfaces, contributes to the impression of space. Together they create rhythmic, spacial and almost monumental/architectonic shape . The pieces were created in co-operation with Bergdala Glasbruk and Rogers Glassliperi in Smaaland, Sweden. (Made for ‘Glasss’, an exhibition at Holstebro Kunstmuseum and Sophienholm.)
Kunstetagerne Hobro, 2014. Photo N. Reiter
Back in the atelier, the last polish before the exhibition.
After annealing. Each cast is ground and polished.
Teamwork! Pouring liquid hot glass in the sand moulds.
Preparing the sand moulds for the glass casting.
Working in my atelier with plaster positives of the 6 objects.
Written
Tekst af cand.mag., mag.art. Museumsinspektør Ulla Houkjær, Designmuseum Danmark.
Til kataloget Glasss. Udgivet af Holstebro Kunstmuseums Forlag i anledning af udstillingen Glasss 2013 på Holstebro Kunstmuseum og Sophienholm.
dansk/engelsk:
For Lotte Thorsøe ( f.1964) er glasset langt fra det eneste materiale, hun arbejder i. Hun fremstiller også skulpturelle værker i bl.a. stentøj, gips og beton og mixed media, og har skabt industrielt brugsglas for Holmegaard. Som Susanne Jøker Johnsen har hun arbejdet en periode i Glashytten i Transjö. I sit unikaglas arbejder hun meget i fladen med store sandstøbte former, og med en indgående bearbejdning, der forandrer værkets overfladekarakter. Strukturelt markeret , men afdæmpet i det store format er f.eks. kompositionen Left Over fra 2010, udført i formmørtel til udstillingen Fragmenter, på Glasmuseet i Ebeltoft. Den udgøres af seks store, uregelmæssige ovaler med hul midte, der set på afstand kan opfattes som seks variationer over en form, der minder om store skiver marvben, med deres organiske uregelmæssige omrids. Left Over kan ses som en forløber for det aktuelle værk i sandstøbt glas, Inside Out fra 2013, der ligeledes er i seks sektioner. Formerne er alle af klart glas, der på den horisontale flade fremtræder slebet , klart og gennemsigtigt med små bobler i massen, mens sidernes skrånende kanter har en mat og nopret overflade. Fordi hver form har en hul midte, kan snittet ses både fra yder- og indersiden, hvad der giver en hel særlig, rumlig oplevelse. Når man fortaber sig i den enkelte form, suges man imod bunden i det vandrette spejl, der afgrænses af sin noprede uregelmæssige kant, så følelsen af at se ned i et vandspejl eller igennem klar is melder sig. Når de seks figurer ses under et, danner konturerne et elegant afbalanceret hele, som spiller flot op imod podiets sorte flade. Kunstneren har fravalgt farven for at lade formopfattelsen komme helt til sin ret og opnår derved, at helheden fremtræder monumentalt og i harmonisk balance. Værket er beslægtet med Spine fra 2012, et værk i fem dele af gråsort stentøj med en blød overflade karakter, igen former, der minder om ben, her led fra rygraden, rytmisk placeret i en forsigtig indbyrdes kontakt. Der er en storhed og ro i stilfærdigheden.
For Lotte Thorsøe (b. 1964), glass is by no means the only material she works with. She also produces sculptural works in, for example, stoneware, plaster and concrete as well as mixed media and she has designed industrial glassware for Holmegaard. Like Susanne Jøker Johnsen, she worked for a period in Transjö Hytta (Transjö studio). In her studio glass, her work focuses on the surface with large sand-cast shapes, working them intensively, which alters their surface character. The composition, Left Over, 2010, made of fibre mortar for the exhibition, Fragmenter (Fragments), at Glasmuseet Ebeltoft (Ebeltoft Museum of Glass), is structurally striking, but subdued in its large format. It consists of six large, irregular ovals with a hollow centre, which, seen from a distance, might seem like six variations on a shape reminiscent of large slices of marrowbone with their organically irregular outline.
Left Over can be viewed as a forerunner to the present work in sand-cast glass, Inside Out, from 2013, which is also in six sections. The shapes are all made of clear glass which appears polished on the horizontal surface, clear and translucent with small bubbles in the material while the sloping sides have a frosted and rugged surface. As each shape has a hollow centre, the section can be seen from, the outside as well as the inside providing a unique, spatial experience. Allowing yourself to be immersed in the individual shape, you are sucked towards the bottom in the horizontal centre which is defined by its rugged, irregular edge, thereby evoking a feeling of looking down into water or through clear ice. Seen together, the contours of the six figures form an elegant and balanced whole, exquisitely interacting with the black surface of the podium. The artist has rejected colour in order to allow the perception of form to come into its own, and the resulting whole appears imposing and harmonious. The work is related to Spine from 2012, a work in five parts made of grayish black stoneware with a soft surface character; once again shaped resembling bones, in this case spinal vertebrae, rhythmically placed in gentle, mutual contact. The quietness exudes grandeur and peace.