Close to the edge of „The Leaf“ we find two large frescoes cast in plaster: one is showing a blue cat sculpture reproduced four times with micro alterations; the other is showing images of Danserindebrønden by Rudolph Tegner conjoined like in a cinematic montage. The blue cat and the well both originate from the city of Elsinore where Kåre Frang grew up and were among the first public sculptures he became acquainted with as a child. The blue cat was standing in front of the artist’s kindergarten as a portal between different worlds. Here in the works they appear altered and intensified. In size and format, they refer most obviously to posters or public ads, but also more generally to the atmosphere of urban infrastructural space. They mix commodity aesthetics with a fluid, temporal visuality and connect past and present into a single-layered affect space.
The well is also referred to in a small model of a well cast in bronze and painted with acrylics in a double articulation of value enhancement and camouflage. The bronze well appears like a toy, a small prop, or a simplified sketch before the actual construction starts. It also suggests how a well might look, say in a comic book. It is placed in a transparent anti-theft box, as a kind of paradoxical item for consumption. Similar to the series of cats it is an object taken out of circulation and inserted in a new geography between the coordinates of a white cube – winter landscape – parking space.
Finally, next to cats and wells, we meet an abstract aluminium wall relief cast on top of a parking sign: A concentrated point where economy and the right to occupy a sector of the urban space unite in an image. The aluminium work looks like an aesthetic mix of glass mosaics, a traffic accident and watercolour workshops from art classes in primary school. It is simultaneously fragile and harsh, a kind of vandalism or meltdown that here comes to life again as a charred composition of colours, lines and words.
Magnus Thorø Clausen