陈列您的艺术作品给每天无数的访客观看

Anne Sofie Bird Møller holds a unique position in Modern Art today. She has achieved this through persistently and stubbornly intensifying her painterly expression. It is not her aim to please but to bring forward certain statements about the state of civilisation.

The objective paintings – that never show people – are details from the real world. In her early works she paints the habitats of people, interiors of homes, to which we can all relate, where we live. These ‘quiet’ rooms involuntarily evoke associations of famous examples of European painting. It makes you shudder to think of who could have lived in these paintings: the backdrop to what has happened here, human occurrences that might have taken place.


Although we are looking at years of reduction until monochrome, the paintings give a documentary testimony; however we know, of course, that we are talking about constant cool manipulation in this case. Even the chosen painting material, the very glossy household paint, makes the motif almost inaccessible due to the glossy, mirroring surface as if it was whispering – don’t come to close!


Aside from the living rooms Sofie likes to show details from other beloved surroundings (sometimes men’s!), namely – the car. In a couple of paintings it is reduced to the big recognisable circle that describes the steering wheel and small ones to describe the dash board. From the hermetic little private room one moves on to the impressive public space, like Frank Lloyd Wright’s Guggenheim Museum in New York or the vertiginous look up underneath the high arches into the dome of a gothic cathedral. In several paintings the details of real life are continuously being reduced, ever less detail, more close up. In these fragments the abstraction becomes increasingly obvious, the simplification giving them a strong look.


As stated in the beginning of this text it is not the aim of Sofie to please, and with the hard looking, glossy surface that rejects you, the whole story still hasn’t been told. There is no flattery going on here. This is not about some form of neo-neoromantic landscape or (as we see more often) typical suburban motives. It is about a hard world without compromise, fragmented and often without any recognisable points of identification. But the painting is carried out with painterly ‘nerve’. In those rich, thick surfaces you sense a sensual, almost tangible lust that balances the cool and analytic (the masculine look?).


This is the reason why these paintings are irrestistible. They contain the intellectual analysis that challenges you to a dialogue and yet at the same time they have this sensuality about them which also invites to a dialogue – but another one.


Translation, Jan Abildgaard, art historian, Copenhagen, 2005

Interference #49 (Girl Power)

2007
acrylic paint on advertisement (newspaper)
45 x 58 cm

Interference #10

2007
acrylic paint on advertisement (newspaper)
28 x 21cm

Interference #37

2007
acrylic paint on advertisement
28 x 21cm

Interference #38

2007
acrylic paint on advertisement
28 x 42cm

Interference #11

2007
acrylic paint on advertisement
28 x 21cm

Interference #4

2007
acrylic paint on advertisement (newspaper)
28 x 42cm

Interference #46

2007
acrylic paint on advertisement
28 x 21cm

Interference #45

2007
acrylic paint on advertisement
28 x 21cm

Interference #48

2007
acrylic paint on advertisement (newspaper)
45 x 58 cm