SELECTED WORKS BY Kirstine Roepstorff
Click on the images to enlarge
Kirstine Roepstorff
You Are Being Lied To
2002
Paper, glitter, pearls, sequins, paint, on wallpaper, collage, mounted on aluminium
274 x 388 cm |
 |
Kirstine Roepstorff’s You Are Being Lied To is a delight of cultural protest. Set on a 70s-style photomural backdrop, Roestorff assembles a wonder world of male middle-class-dom. Her ‘great white’ tea party boats all the accoutrements of a lost supremacy. Zoot-suited mafia dons mingle with polyester yuppies, footballers, firemen, and nudists, in a glorious 9-hole Valhalla peppered by fighter jets and sentimental glitter. Using collage and paint, Roepstorff creates her own agitprop, assembling an ironic Baroque style requiem reminiscent of the dead ‘heroes’ on the Sgt. Pepper album cover. |
Kirstine Roepstorff
Hidden Truth
2002
Paper, glitter, pearls, sequins, paint, on wallpaper, collage, mounted on aluminium 274 x 388 cm
Paper, glitter, pearls, sequins, paint, on wallpaper, collage, mounted on aluminium 274 x 388 cm |
 |
Kirstine Roepstorff’s Hidden Truth is a monument of kitsch: a billboard-sized postcard-collage celebrating the mastery of tourism over an unconquerable sublime landscape. Envisioning an estate agent’s dream of a rustic sci-fi paradise condo-ised for maximum investment, Roepstorff’s development is ruthless and ridiculous. Tower blocks nestle in virgin forests, impossibly balance in cliff faces, and teeter precariously on insurmountable summits. Hovering over the scene is a fixed oracle of nirvana, exploding with the fairytale bijou of globalisation, aligning the planets in a parody of capitalist bliss. |
Kirstine Roepstorff
Chessing with loss
2006
Mixed-media collage: fabric, canvas tinsel, colored vellum, iron-on fabric, paper, photocopies, glitter, silver leaf, tape, glue over wood and aluminum structure
360 x 290 cm |
 
|
Kirstine Roepstorff
All Possible Experiences (From the series
2006
Mixed media collage
444 x 273 cm |
 
|
Kirstine Roepstorff
Eight Hanging (From the series "It's Not the Eye of the Needle that Changed") (with details)
2007
Mixed media collage in two parts, various papers and foil mounted on wood panel
Part one: 320 x 125.5 cm Part two: 320 x 170 cm |
 
|
Kirstine Roepstorff
Exercise Within The Frame (Including The Summer Of Discontent) (From the series "It's Not the Eye of the Needle that Changed")
2007
Mixed-media collage: paper, vinyl, cloth, acrylic paint mounted on 4 wood panels
350 x 300 cm |
 |
Kirstine Roepstorff
Exercise, Version 2 (From the series "It's Not the Eye of the Needle that Changed")
2007
Mixed-media collage: paper, photocopy, foil, glue, thumbtacks mounted on wood panel
245 x 170 cm |
 |
|
|
ARTIST INFORMATION
ARTICLES
Queen of diamonds; Kirstine roepstorff
By Cecilie Høgsbro
In her latest show Kirstine Roepstorff is introducing a glorius but invisible figure to us: The Queen of Diamonds. Inevitably you start wondering who this character is. No doubt every sparkling, refracting and reflecting collage or crystalline object in the show, even the charged space between the works, are portraits of the Queen. She seems to be all over the place but still she’s not seen anywhere. Soon you realize that the Queen is not an identifiable, representable person, not even a fairy tale figure. She is an organizing principle. The Queen is a gardener, a cultivator of values. She’s a crystallization of Roepstorff’s own practice, A practice, where the cultivation, blooming and decay of values have been questioned over and over again.
Thus, when Roepstorff uses diamonds, flowers and pearls in her works it is not just meant as feminine décor. These ornaments are used as images in themselves. For what is a diamond – the subject of the Queen’s kingdom, the precious flower in her glass house – if not the perfect image of value?
The values of diamonds
Diamonds traditionally represent an incontestable economic value. Like flowers they are also banal metaphors for transcendent values like eternity, faith, virtue and love – no wonder we name diamonds like roses: Golden Jubilee, Excelsior and Southern Star. But diamonds tend to refract given values in the same way as they refract light. As cultural history shows us the eternal values of diamonds seems highly transcient and multifaceted. Diamonds make firm values merge seamlessly into their apparent opposits: tender love refracts imperceptibly into cool cash, immaterial virtue into material greed, social order into terror, mass security into mass destruction, liberation into oppression and vice versa.
Read the entire article here
Source: christinawilson.net
|
| |
|
|
| |
|
