Lot 220 - Mie Olise Kjargaard - Unitarian Chapel/Newington Green
Acrylic on Paper
A6 (10x15cm) original artwork
Bidding starts at £50
Mie Olise Kjærgaard works in painting, sculptural objects and installation. Since graduating her MFA in 2008, her work has focussed on the theme of the ”man-made construction” in relation to dystopian ideas. Kjærgaard is a maker and she explores dystopic settings, through man-made architectural constructions. Lately these dystopic ideas, has turned more real and her invented dystopian place, Moirania, might look a lot like a future dystopia of todays climate changes. What initially started out as a idea-based and more poetic view, is now being caught up by with by reality. In recent years, M.O. Kjærgaard has investigated the construction of man-made society in different stages – from dishonesty, over fake to fictional. From modern ruins in Latin America, and how these contemporary ruins are deserted and occupied again; in horisontal layers, with new architectural strategies – very different from the original ideas about function and appearance. The project was exhibited at Museo de Arte Acarigua in Venezuela under the title ”Discontinued Monuments”. In architectural terms, breaking with the initial constructural idea, is called a ”dishonest construction”, – which is what Kjærgaard is calling her recent body of work. In 2016 Olise started working with Bastard Monuments and the fake Babylon Wall film-set of DW Griffith s Intolerance (movie, 1917), which aspired her to go even further and invent her own dystopic place, Moirania (after Moira) – a flooded world, where people and animals go around by boat at there are reminissences of designerbags, trainers and present popular items, lying useless around. This Universe has been evolving around a huge largescale map, drawn by pencil, and tugged away in Olises studio in secrecy. Kjaergaard often paints her large scale paintings with polluted water collected from places of polluting industries. Working in large scales was initially a way to put the maker-/spectators body in relation with the construction – later it also became a respond to the word masculine size.