Per Bak Jensen. Dagslys / Daylight

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2 Per Bak Jensen Dagslys / Daylight

3 Dagslys Dagslys er essentielt for menneskers velbefindende såvel som for fotografiet. I dagslyset kommer alt det, natten har skjult, til syne det bliver fremkaldt og står blottet for vores blik. Fotografierne i Per Bak Jensens udstilling Dagslys indgyder denne fornemmelse af at se steder og genstande på ny efter en lang nat. Titlen bliver for mig en påmindelse om, hvor grundlæggende fantastisk det er, at dagslys kan flyde ind gennem vore øjne og skabe billeder, og at det kan afsætte spor på et stykke papir, så omverden sætter sig fast som et billede. De fleste af motiverne er enkle og dagligdags: et træ, en mur, en mark. De står rent og centreret i midten af billederne uden en masse øvrige elementer til at tage opmærksomheden. Der er en åbning mellem to tunge gardiner, hvor dagslyset strømmer ind, eller en stor sten i strandkanten set mod det tidlige morgenlys, så den blokerer for den sol og det forsvindingspunkt, alle linjer i billedet stråler ud fra. Det kommer til at virke som om, den skjuler noget, og som den står der i midtpunktet med lyset bag sig, får den karakter af en mystisk monolit. Per Bak Jensens værker peger på noget centralt i fotografiet som medie, der har at gøre med den tid, der er i hans billeder. Det er ikke snapshottets standsede tid og det afgørende øjeblik, de fanger, men en langsomhed og fordybelse. Der er tydeligvis lagt megen tid i at udvælge og afsøge motivet, finde den rette disponering af billedet og indstille apparatet til at slippe den rette mængde lys ind i kameraets mørke indre. Den tid fotografen har investeret, må man som beskuer give tilbage, når man betragter billederne. Deres motiviske, kompositoriske og farvemæssige ro gør, at man dvæler ved dem længe. Som en modvægt til de hurtige, effektive billeder, der ellers præger vores billedforbrug, er disse fotografier nogle, der langsomt kryber ind i en og bliver siddende. Trætop / Treetop, 2015 [PBJ ] Måske bliver de også hængende, fordi de er svære at få ud gennem sproget. Der er en udpræget tavshed over dem, og deres korte titler peger blot nøgternt og underspillet på motivet: Floden, Is, Klæde, Revne. Det er som om, poesiens langsomme, ordknappe sprog passer bedre til billederne end akademisk prosa. Derfor er Per Bak Jensens billeder også ofte blevet sat sammen med digte, der er skrevet mere til billederne end om dem.

4 Noget andet, der understreger billedernes modstand mod sproget, er at de fleste af hans billeder er mennesketomme. Til gengæld er der masser af spor efterladt af mennesker. Smukke, mærkelige, forladte eller oversete genstande, som har fanget fotografens øje og talt til ham på deres tavse visuelle sprog. Og nu, hvor Per Bak Jensen har portrætteret disse genstande i stort format, er de pludselig synlige for os alle og kalder på at blive set. Netop fordi fotografierne stiller skarpt på hvert enkelt sted og genstand, får man det indtryk, at de er særlige og indeholder en vigtig erkendelse. Man begynder at lede i billederne efter betydninger og indhold. Tag for eksempel billedet Klæde, der viser et slidt stykke stof på en mørk baggrund. Man kan ikke se, om det hænger på et søm, eller om det skjuler en genstand. Klædet er så gammelt og brugt, at dets blå farve er ved at blive erstattet af en brungrå tone. Mu - ligvis er det bare en gammel klud, fotografen har samlet op, men som den fremstår her, forestiller man sig, at den har haft så stor betydning, at nogen har passet på den og bevaret den i årevis. Jeg kan ikke lade være med at tænke på Peter Greenaways film Tegnerens kontrakt (1982), hvor en feteret barokkunstner bliver bedt om at tegne en serie prospekter af et stort herresæde. Han forlanger, at de scenerier, han tegner, skal ryddes for mennesker og intet må flyttes, fordi det ændrer ved motivet. Alligevel dukker der hele tiden små ændringer op, som nedfældes som spor efter hændelser: En stige op til et vindue (hvem er kravlet ind til fruens soveværelse i løbet af natten?) eller et par underbukser på tørresnoren (hvem har taget dem af, og hvorfor blev de våde?). De små tilsyneladende uskyldige detaljer i tegningerne bliver tolket som mystiske spor, der peger på et mord. I Per Bak Jensens fotografier er der så at sige zoomet ind på genstande, der på lignende vis forekommer betydningsfulde. Men de forbliver stædigt stumme, og vi får ikke andre betydninger serveret end den æstetiske det smukke farvespil i Klæde og det eksistentielle: At dette her klæde findes og nu er blevet set. Og så er der alt det, vi selv lægger i billedet, fordi vi som mennesker ikke kan lade være med at søge mening, og fordi vi hver især har et arkiv af billeder med i baghovedet, når vi betragter værket. Når kluden er fremhævet i centrum af det sorte billede, så kommer den til at fremstå med en ophøjethed, der minder mig om billeder af Veronikas svededug eller Jesu ligklæde. Kludens folder, der tegner sig skarpt med de mørke skygger, ligner også foldede draperier udhugget på en gotisk madonnafigur. For mig bliver den bortkastede klud ophøjet til en madonna måske fordi jeg arbejder på et museum (Sorø Kunstmuseum) med både gotiske træskulpturer og russiske ikoner. Per Bak Jensens billeder emmer af en ømhed overfor selv de mest ydmyge motiver. Denne hengivenhed, der viser sig gennem den omhu, han lægger i fotograferingen, er ikke ulig den tilbedelse, der for en ikonskriver ligger i selve det at fremstille ikonen. Hele processen at udvælge et stykke træ, skære det til, forberede overfladen, grundere fladen indtil den er helt perfekt, for så endelig med små pensler omhyggeligt at male motivet efter strenge forskrifter skete i ærbødighed for den afbildede helgen. Den store billedstrid om kring ikonerne, handlede om, hvorvidt de skulle betragters som billeder af det guddommelige, eller billeder på det guddommelige. Og dermed om man tilbad selve billedet som en afgud eller om man tilbad det, billedet henviste til; det guddommelige bag billedet. Per Bak Jensens billeder der naturligvis er skabt i en helt anden sam - men hæng synes at balancere mellem at være billeder af noget, og billeder på noget større. Men mens de altid sagligt præsente - rer det, de afbilder, er det knap antydet, hvad de kan være billeder på. Når billedet Revne viser en tynd linje midt ned gennem en jomfrueligt hvid mur, så er det indlysende, at revnens små usikre udsving og skyggerne på den let ujævne mur, udgør billedets motiv. Men det er mere åbent, hvad den stilfærdige lille hændelse i en mur er et billede på. Er der andet, der er ved at krakelere et forhold? Et liv? Et verdenssyn? Har det betydning, at det er en kirkemur, der er revnet? Den hvide mur er åben og modtagelig for enhver af den slags tolkninger, vi måtte projicere ind på den. Værkernes åbenhed for fortolkning og deres evne til at formidle følelsen af nærvær opstår netop i mødet mellem de simple genstande og den opmærksomhed og omhu, der er viet til dem. Den fornemmelse, man får, af at værkernes ydmyge motiver bærer en stor betydning, beror på flere elementer: Per Bak Jensens evne til at se skønheden i det oversete; hans omhu med valg af motiv, disponering, optagelse og fremkaldelse af billederne, billedernes store format og ikke mindst den tilstræbte symmetri i billederne, der peger på det centrale som noget betydningsfuldt. Desuden låner Per Bak Jensen kompositionsprincipper og ind imellem motiver fra kunsthistorien. Med dem følger en mængde associationer

5 og betydninger, der sjældent er direkte synlige i billedet, men som kan dukke op hos betragteren som antydninger og anelser. Også manglen på mennesker i billederne spiller ind. Der er ingen, man kan spejle sig i, og kun få sociale, tidstypiske eller kønsspecifikke tegn, som man kan placere sig i forhold til. Man er alene som menneske i mødet med et motiv, der er så enkelt, at man ikke kan slå billedaflæsningen på automatpilot. Derfor er man nødt til at se nærmere, længere og mere tålmodigt. Ved nærmere eftersyn af - slører formen i Hvid, sig f.eks. som et udsnit af en skulpturel krop, måske et krucifiks; og man opdager, at det måne-agtige landskab i Gul, er en mur, der er fotograferet så tæt på, at man næsten kan mærke køligheden fra den kalkede mur. Men når man leder efter betydningerne, må de mestendels komme af de resonanser, der opstår i én selv. Derfor kan det føles som eksistentielle møder med omverden, når man betragter Per Bak Jensen fotografier. Når Per Bak Jensen gennem et livslangt virke utrætteligt forsøger at trænge ind i verden med sit kamera og gentagne gange vender tilbage til denne type af enkle motiver, ser jeg det som en insisterende nysgerrighed og et forsøg på at forholde sig til verden som menneske, hver gang dagens lys kommer på ny. Et godt eksempel er billedet Udsigt, som viser et kig mod et lille stykke himmel op eller ind gennem et bladhang som når man ligger i skovbunden og kigger op, eller passerer gennem en smal passage mod en åbning. De mørke blade i begge sider skaber en næsten klaustrofobisk fornemmelse, og det er befriende, når blikket kommer frem til lyset i den smalle sprække. Som om blikket fødes ud i dagslyset. Man behøver ikke at vide, at billedet er taget på en kirkegård, eller at Per Bak Jensen for nylig er kommet ud på den anden side af en alvorlig sygdom, for at opfange de mulige større betydninger, motivet bærer. Helle Brøns ph.d inspektør ved Sorø Kunstmuseum Før Storm / Before Storm, 2016 [PBJ ]

6 Is / Ice, 2016 [PBJ ]

7 Skumring /Twilight, 2016 [PBJ ]

8 Morgenlys / Morning Light, 2016 [PBJ ]

9 Udsigt / View, 2015 [PBJ ] Revne / Crack, 2016 [PBJ ]

10 Gul / Yellow, 2016 [PBJ ] Trace, 2016 [PBJ ]

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12 Imellem / Between, 2016 [PBJ ]

13 Klæde / Cloth, 2016 [PBJ ] Hvid / White, 2014 [PBJ ]

14 Floden / The River, 2016 [PBJ ]

15 Daylight Jensen s images are often juxtaposed with poems that are written more to the pictures than about them. Daylight is essential for human well-being as well as for photography. In daylight, all that was hidden by night becomes visible it is called forth and exposed to our gaze. The photographs in Per Bak Jensen s exhibition Daylight instil this sense of seeing places and things once again after a long night. For me, the title is a reminder of how fundamentally amazing it is that daylight can flow in through our eyes and create pictures, and that it can leave traces on a piece of paper so that the surrounding world becomes fixed there as an image. Most of the motifs are simple, everyday things: a tree, a wall, a field. They stand discretely and centred in the middle of the pictures, without a lot of other elements to draw our attention. There is an opening between two heavy curtains where daylight streams in, or a large rock at the seashore seen in the light of early morning, so that it blocks the sun and the vanishing point from which all the lines in the picture radiate. It comes to look as though it is hiding something, and as it stands in the centre with the light behind it, it acquires the character of a mysterious monolith. Per Bak Jensen s works point to something central in photography as a medium, which has to do with the time that is contained in his pictures. It is not the arrested time and essential moment of snapshot photography that is captured here, but rather a slowness and contemplation. Much time has clearly gone into selecting and ex - plori ng the motif, finding the appropriate arrangement of the picture, and setting the camera to release just the right amount of light into its dark interior. The time that the photographer has invested must be given back by the viewer when contemplating the pictures. Their motivic, compositional and chromatic tranquillity causes you to dwell on them for a long time. As a counterbalance to the fast, efficient images that otherwise characterise our image consumption, these photographs creep slowly into you and remain there. Perhaps another reason why they remain is that they are hard to exorcise through language. There is a distinct sense of silence about them, their brief titles simply pointing in sober and understated manner to the subject: The River, Ice, Cloth, Crack. It is as though the slow, laconic language of poetry is more suited to these pictures than academic prose. Accordingly, Per Bak Another factor that emphasises the pictures resistance to language is the fact that most of them are deserted. On the other hand, there are plenty of traces left by human beings beautiful, strange, abandoned or neglected items that have caught the photographer s eye and spoken to him in their silent, visual language. And now, when Per Bak Jensen portrays these objects in large format, they are suddenly visible to us all and cry out to be seen. Precisely because the photographs focus so sharply on each location and object, the viewer gets the impression that they are special and contain an important revelation. You begin to search the pictures for meaning and content. Take for example the picture Cloth, which depicts a worn piece of cloth against a dark background. You cannot see whether it is hanging on a nail, or whether it conceals an object. The cloth is so old and well-used that its blue colour is being replaced by a greyish-brown shade. Perhaps it is just an old cloth the photographer has picked up, but as it is presented here, you feel that it is so mean ingful that someone has looked after it and stored it for years. I can t help thinking of Peter Greenaway s film The Draughtsman s Contract (1982), in which a celebrated baroque artist is asked to draw a series of prospects of a large manor. He demands that the scenes he represents must be empty of people, and that nothing must be moved, because this will change the motif. Nonetheless, small changes keep turning up, as traces of events: a ladder up to a window (who crawled up to the lady s bedroom during the night?) or a pair of underpants on the clothesline (who took them off, and why were they wet?). The small, seemingly innocent details in the drawings are interpreted like mysterious clues that point to a murder. In Per Bak Jensen s photographs, our attention is so to speak zoomed in on objects that appear similarly significant. But they re - main stubbornly silent, and we uncover no hidden meanings other than the aesthetic the beautiful play of colours in Cloth and the existential: this cloth exists and has now been seen. And then there is all that we ourselves put into the picture, because we human beings cannot help but seek meaning, and because each of us has an archive of pictures in our minds when we con-

16 sider the work. Highlighting the cloth in the centre of the black picture gives it a grandeur that puts me in mind of pictures of the Veil of Veronica or the Shroud of Turin. The folds of the cloth, which stand out sharply with their dark shadows, also resemble the folded drapery carved on a Gothic statue of the Madonna. For me, the discarded cloth becomes elevated to the status of a Madonna perhaps because I work in a museum (Sorø Kunstmuseum) which has both wooden Gothic sculptures and Russian icons in its collections. Per Bak Jensen s pictures exude a tenderness towards even the humblest of motifs. The devotion revealed in the care he puts into the photographs is not unlike the worship that for an icon painter lies in the very act of creating an icon. The whole process selecting a piece of wood, cutting it to prepare the surface, priming the surface until it is perfect and then, finally, carefully painting the motif with small brushes in accordance with strict precepts is performed in reverence for the depicted saint. The great conflict in relation to icons was about whether they should be viewed as images of the divine, or as divine images and hence whether one worshipped them as idols, or worshipped what the picture referred to: the divine behind the image. Per Bak Jensen s pictures while of course created in a completely different context seem to balance between being pictures of something, and pictures of something greater. But while they always objectively present what they portray, anything greater that may lie behind it is barely hinted at. When the image Crack shows a thin line down the middle of a virginal white wall, it is obvious that the small, uncertain fluctuations in the crack and the shadows on the slightly uneven wall are what constitute the picture s motif. But what the little incident in the wall may represent is a rather more open question. Is something else starting to crack a relationship? A life? A view of the world? Is it of significance that it is a church wall that has cracked? The white wall is open and receptive to any such interpretations that we may choose to project upon it. The openness of the works to interpretation and their ability to con vey a sense of presence arises precisely in the contrast be - tween the simple objects and the care and attention that has been devoted to them. The feeling one gets that the works humble motifs contain great significance is based on several elements: Per Bak Jensen s ability to perceive beauty in the overlooked, his careful motif selection, the arrangement, recording and processing of the images, the large format of the pictures, and in particular the symmetry that is sought in them, which points to the central as something meaningful. Per Bak Jensen also borrows compositional principles, and sometimes motifs, from art history. These are accompanied by a number of associations and meanings that are rarely directly visible in the picture, but which can be detected by the viewer in the form of hints and suspicions. The absence of people in the pictures also plays a role. There is no-one in whom we can see ourselves reflected, and very few social, chronological or gender-specific signs to which we can re - late. We are alone as human beings in our encounter with a motif that is so simple that you cannot switch your image interpretation onto automatic pilot. Consequently, we need to look more closely, for longer, and more patiently. On closer inspection, the form in White, for example, reveals itself to be a section of a sculptural body, perhaps a crucifix and you discover that the lunar landscape of Yellow is a wall that has been photographed so close up that you can almost feel the coolness of the whitewashed surface. But when you search for meanings, they must for the most part arise from the resonance that occurs within yourself. It can therefore feel like an existential encounter with the surrounding world when we consider Per Bak Jensen s photographs. When, through his lifelong work, Per Bak Jensen tirelessly attempts to penetrate into the world with his camera, and repeatedly returns to this type of simple motif, I see it as an insistent curiosity and an attempt to relate to the world as a human being, every time the light of day returns once more. A good example is the picture View, which portrays a small fragment of sky, seen up or through some foliage as when you lie on the forest floor looking up, or go through a narrow passageway towards an opening. The dark leaves on either side create an almost claustrophobic feeling, and it is liberating when your gaze reaches the light in the narrow crevice; as though your gaze is born into the daylight. You do not need to know that the picture was taken in a cemetery, or that Per Bak Jensen has recently recovered from a serious illness, to catch the possible greater meanings borne by the motif. Helle Brøns ph.d, curator at Sorø Kunstmuseum

17 Per Bak Jensen 1949 Born in Copenhagen 2011 Bevægelse / Movement, Gl. Holtegaard, Holte, Selected Group Exhibitions 2005 All Things must pass (With Erik Steffensen) Semina The Royal Danish Academy of Fine Arts, Copenhagen 2015 Den Monokroma Symfonin / The Monochrome Rerum, Irene Preiswerk, Zürich, Switzerland Associate professor at The Royal Danish Academy of Bevægelse / Movement, Maison du Danamark, Symphony, Artipelag, Gustavsberg, Sweden The Shadow, Vestsjællands Kunstmuseum, Sorø, 2009 Fine Arts, Copenhagen Paris, Frankrig Stafetten, Kunstforeningen GL STRAND, Copenhagen, Lives and works in Vemmetofte, 2010 Signe et Mouvement, Galerie Suzanne Tarasiève, Helmut Federle A Nordic View Galerie Nächst Paris, Frankrig x Forår Den Frie Udstilling, Den Frie Centre of St. Stephan, Vienna, Austria Works in Public Collections Tornbilleder, Glasgangen, Løgumkloster Church, Contemporary Art, Copenhagen, Scandinavian Photography II:, Faulconer Arken Museum of Modern Art, Ishøj, Løgumkloster, Shades of Black on White, Galleri Bo Bjerggaard, Gallery, Grinnell, Iowa, USA ARoS Aarhus Art Museum, Århus, Per Bak Jensen Obra Reciente, El Centro Copenhagen, 2004 Easter Exhibition, Skive Kunstmuseum, Skive, Bibliothéque Nationale, Paris, France Foto gráfico Manuel Álvarez Bravo, Mexico 2013 Two Men with Glasses and a Woman in an Igloo Bornholms Kunstmuseum, Gudhjem, 2009 Before the Darkness, Dunkers Kulturhus, Helsingborg, (with A K Dolven and Daniel Richter), Esbjerg Kunst Oluf Høst i dialog med nutiden, Aarhus Kunstmuseum, The National Museum of Photography, Copenhagen, Sweden museum, Esbjerg, Depont Museum of Contemporary Art, Tilburg, Holland Midt iblandt os/ In our Midst, Galleri Bo Bjerggaard, State of the Art, Copenhagen Photo Festival, Slottet, 2001 Natur lighed (with Ane Henriksen), Holstebro Esbjerg Kunstmuseum, Copenhagen, Carlsberg, Copenhagen, Kunstmuseum, Heart Herning Museum of Contemporary Art, 2008 Tilsagn / Promise, Thisted Kunstforening, Thisted, 2012 Recollections of Willumsen, Galleri Bo Bjerggaard, Nyerhvervelser, Museet For Samtidskunst, Oslo, Louisiana Museum of Modern Art, Humlebæk, Copenhagen, Norway Moderna Museet, Stockholm 2006 Days in Vienna, Galleri Bo Bjerggaard, Copenhagen, Sense of Place. European Landscape Photography, 2000 Ambassaden, Kørners Kontor, Copenhagen, Museet for Fotokunst, Odense, BOZAR, Brussels, Belgium Reflex, Århus Kunstbygning, Århus, Museet for Samtidskunst, Oslo, Norway Genkomst / Return, ARoS Aarhus Art Museum Århus, Sarajevo Winter Festival Jesper Just, Joachim Overlaps, Harjah Art Museum, The United Arab National Gallery of, Copenhagen, Koester and Per Bak Jensen, Sarajevo, Bosnien Emirates, Ny Carlsberg Glyptoteket, Copenhagen, The Secret Room, Kristiansund Kunstforening, Herzegovina Odense Kunstmuseum, Kristiansund, Norway 2011 Helt ude i skoven / Out in the Wildwood, Galleri Grants and Awards Skive Kunstmuseum, Skive, Per Bak Jensen, National Gallery of, Bo Bjerggaard, Copenhagen, 2015 Thorvaldsen Medaljen The International Center of Photography, New York, USA Copenhagen, 2010 Possible Meaning (with Ebbe Stup Wittrup), Budapest 2005 Eckersberg Medaillen The Metropolitan Museum of Art, New York, USA 2004 Per Bak Jensen Figur & Landskab / Figure and Spring Festival, Budapest, Hungary The Museum of Modern Art, New York, USA Landscape, Galleri Bo Bjerggaard, Copenhagen, Hærvejen, exhibition project at Hærvejen in Jutland Selected Site Specific Projects Trapholt Kunstmuseum, Kolding, for The Danish Arts Foundation, 2000 Søren Kierkegaard Research Center, Copenhagen, Sorø Kunstmuseum, Sorø, 2003 Image no. 7, Trapholt Kunstmuseum, 2009 Vanishing Landscapes, Galerie Nikolaus Ruzicka, 2002 Visual Offences, Herning Kunstmuseum, Salzburg, Austria 2004 Kolding Youth Hostel, Kolding, Selected Solo Exhibitions 2001 Per Bak Jensen, Galleri Niklas von Bartha, London, BMW Paris Photo Prize 2009, Paris, France Plesner, Cobber Tower, Copenhagen, 2016 Dagslys / Daylight, Galleri Bo Bjerggaard, Copen- England 2008 Nordiske Stemninger, Arken Museum of Modern Art, 2005 Danmarks Nationalbank, Copenhagen, hagen, 2000 Pure Nature, Galleri von Bartha, Basel, Switzerland Ishøj, 2008 Hospice Djursland, Rønde, 2015 Gensyn, Kunstmuseet i Tønder, Tønder, Surrounding, Sønderborg Slot, Springexhibition, Den Frie Centre of Contemporary 2010 The Danish Parliament, Copenhagen, Skjult / Hidden, Sorø Kunstmuseum, Sorø, Surrounding, Vestsjællands Kunstmuseum, Sorø, Art, Copenhagen, University of Copenhagen, Copenhagen, 2012 Near and Far, Europe House, London, England 2007 Spor, The National Photomuseum, Copenhagen, 2012 KPMG, Flintholm, Copenhagen, Fortabelse / Lost, Galleri Bo Bjerggaard, Copen- New Zealand, Albertslund town hall, Albertslund, Univeristy College, Campus, Silkeborg, hagen, 2006 FOTO: New Photography from, Scandinavia House, New York, USA

18 Selected Books 2015 Gensyn, Per Bak Jensen, Kunstmuseet Tønder 2013 Per Bak Jensen: Øjets Stemme / Voice of the Eye, Forlaget Gyldendal, Joakim Garff: Bevægelse / Movement, Forlaget Gyldendal, Johannes Riis: Per Bak Jensen Guds Hus, Statens Kunstfond, Magnus Jenser, Morten Søndergaard: Per Bak Jensen Before The Darkness, Dunkers Kulturhus 2006 Mikkel Bogh: Per Bak Jensen Det Usete billede / The Unseen Image, Forlaget Bjerggaard 2002 Christine Buhl: Per Bak Jensen Forseelse / Visual Offences, Forlaget Bjerggaard 2001 Per Bak Jensen: Hengivne Øjeblikke / Devoted Moments, Forlaget Gyldendal 1993 Per Bak Jensen: Stedernes Væsen / The Being of Places, Forlaget Gyldendal Documentaries 2006 Fotografi. By Steen Møller Rasmussen. Plagiat Film Kunstarter: Kunstfotografiet. By Martin Lund. Copenhagen Broadcast Per Bak Jensen en fotograf. By Steen Møller Rasmussen. Plagiat Film

19 Per Bak Jensen Dagslys / Daylight 28 October 17 December 2016 Værker / Works Hvid / White, 2014 Morgenlys / Morning Light, 2016 Skumring / Twillight, 2016 Spor / Trace, 2016 Installation 125 cm x 173 cm; ed. 6 + AP 125 cm x 185 cm; ed. 6 + AP 125 cm x 185 cm; ed. 6 + AP Rock, wood PBJ PBJ PBJ PBJ Udsigt / View, 2015 Imellem / Between, 2016 Gul / Yellow, cm x 173 cm; ed. 6 + AP 125 cm x 185 cm; ed. 6 + AP 125 cm x 185 cm; ed. 6 + AP PBJ PBJ PBJ Trætop / Treetop, 2015 Revne / Crack, 2016 Is / Ice, cm x 173 cm; ed. 6 + AP 125 cm x 173 cm; ed. 6 + AP 185 cm x 257 cm; ed. 3 + AP PBJ PBJ PBJ Før Storm / Before Storm, 2016 Klæde / Cloth, 2016 Floden / The River, cm x 185 cm; ed. 6 + AP 125 cm x 173 cm; ed. 6 + AP 185 cm x 257 cm; ed. 3 + AP PBJ PBJ PBJ

20 FLÆSKETORVET 85 A DK 1711 KØBENHAVN V TEL Per Bak Jensen & Galleri Bo Bjerggaard ISBN nb Translation from Danish to English: Wordmaster Thanks to Rosendahls TUESDAY-FRIDAY 1 PM 6 PM SATURDAY 12 PM 4 PM

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