Skulptur
I skiftende perioder arbejder Heine Skjerning med forskellige typer af materialer – snart er det aluminium og til andre tider træ og ikke mindst syntetisk nålefilt er et tilbagevendende materiale. Således folder de sig ud indenfor en materialernes dialektik. Uden tvivl er materialevalg afhængig kontekst for udførelsen og afhængig af formelle problemstillinger. For når vi taler om disse skulpturer er det skulpturer både som enkelt værker, men i høj grad også installatoriske strukturer og/eller en kombination af disse to hovedtyper.
Det sidste sås i 2010 på Den Frie hvor Skjerning var gæst hos Koloristerne. Tragthjul blev pludselig til noget andet i en ny kontekst af en installatorisk konstruktion i aluminium og syntetisk nålefilt OG et større maleri. Rumligheder, passager var på spil og skulpturen fik dermed i højere grad karakter af en organisme end en konkret skulpturel konstruktion.
Passager og labyrintiske organiseringer, åbninger, forskydninger danner komplekse måske utopiske arkitektoniske rum i andre sammenhænge – f.eks. med udstillingen ”Vulst, negation, alge” i Sølvgade i 2010.
Tidligere var mange af Skjernings nålefiltskulpturer – grå ligesom Joseph Beuys’ – formet og dannet til at give både finurlige, humoristiske og fantasifulde associationer. Et andet særtræk er det antimonumentale og et arbejde at gøre skulpturen mobil – den kan bæres og medtages til nye sammenhænge.
Tekst: Ann Lumbye Sørensen
Sculpture
In successive periods, Heine Skjerning works with different types of materials – sometimes it might be aluminum and other times, it might be wood. Another recurrent material of special importance in his work is synthetic needle felt. In this serial fashion, the materials are sequentially unfolded within the sphere of the materials’ dialectics. Undoubtedly, the choice of material depends on the specific context for the execution of the work and depends on formal issues, for when we turn our attention to these sculptures, we see that they are sculptures both as individual artworks and, to a significant degree, as installational structures and/or a combination of these two main types.
The most recent of these could be seen at Den Frie Exhibition Building in 2010, where Skjerning was an invited guest at the Koloristerne show. “Tragthjul” [Funnel Wheel] was suddenly transformed into something else within the new context of an installational construction in aluminum and synthetic needle felt AND a large painting. Spaces, i.e. passages, were being put into play and the sculpture consequently took on more the character of an organism than of a tangible sculptural construction. In other contexts, passages and labyrinthine organizations, apertures and displacements generate complex and maybe even utopian architectural spaces– as could be witnessed, for example, with the exhibition, “Bead, negation, alga”, presented in 2010 on Sølvgade, in Copenhagen.
Earlier on, many of Skjerning’s needle felt sculptures – as gray as Joseph Beuys’s works – were modeled and shaped with an aim toward eliciting ingenious, humorous and imaginative associations. Another salient characteristic of Skjerning’s sculpture is the anti-monumental and an attempt to render the sculpture mobile – it can then be carried and can be brought into new and various situational contexts.
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Tekst: Ann Lumbye Sørensen
Translation: Dan A. Marmorstein