GOLLES: “I believe in the fragment.”

G: “I am fascinated with the classic Hellenistic sculptures but it is impossible to reach that kind of ideological unity today, everything is so fragmented and interchanging.”

G: “The biggest challenge today is to achieve unity.”

G: “I have struggled and struggled trying to sculpt a human body in its entirety – every time I have wound up chopping it.

Completely destroying it.

It is like there’s something unnatural in that figure in our time, the fragment has become reality and it seems the wound won’t heal.”

G: “It’s not because I have some perverted urge for the grotesque, but when I try to make something that is classically beautiful it becomes so nauseating that you can’t …

–  I just have to get out the hatchet and chop away at it.”

G: “Today we are completely handicapped when it comes to understanding a sculpture by for instance Michelangelo – we’ve lost the vocabulary for that conversation.”

G: “The preparation of the meal is one of the core ritualistic practices that establish the divide between nature and culture.”

G: “I find that the slaughterhouse represents a very one to one scale understanding of reality. I prefer that my work be cut to the bone, scrape away all the other layers, and I really think the slaughterhouse shows that approach well: the brutality but also the beauty of the slaughtered animals.”

G: “The ancient sacrificial structure is thriving in todays society. It has just shifted from a grandiose ritualistic practice to an everyday ritual, which is particularly evident through the processed consumption we see in the food industry.”

G: “Sculpture has always been connected to death and demise, since the first stones raised on the graves of the deceased.”

DC: “My work stems from a personal negotiation between present day urban life and a desire for something transcendent. I create tension between bodies of association out of which some subjective truth can emerge.”

DC: “To me there is no relevant distinction between nature and culture. They are lingual constructions separating that which is human made from that which is not.

In my work I often play with the ascribed hierarchy and associations of these constructs. I´m not certain about humanity´s place within nature and think that is a good thing.”

DC: “Utopia is a useful concept. For me it relates to Science Fiction civilizations with white interiors, organic furniture, retinal VR interfaces, chlorophyllic fumes and interspecies communication.

Which is to say, I view utopia as a material index rather than an ideological crosshair. I think a preconceived vision of a perfected future can be malignant rather then helpful. Still, I think it’s a good idea to have sense of direction.”

DC: “Kissing Mirrors is an ongoing self-portrait project that I started as a teenager. Since then I have accumulated thousands of snapshots. Through the years I have contextualized them in a number of ways, none of which have been entirely satisfactory.

For the time being I see them as inhabitants of my spatial work. My installations are sets without a protagonist. My portraits are protagonists without sets. They transform with me.”

 DC: “All Pores Open is collaboration with David Ohlsson in which our interest was to create a space where pantheism and industrial media could be interwoven.”

DC: “The installation recalls a monk cell with a bed, window and bowls to eat out of. The adjoining room is empty except for a birch bark surveillance lamp, which doubles as an all-seeing crow´s eye.

Harmonious contradictions are the focal point of the installation.”

GIG: “We thought it fitting for the Copenhagen scene to have more foreign up and coming – we’d both studied abroad and that fueled a desire to show international artists in Denmark.”

GIG: “A bit … we’ve talked a lot about not just being a space that puts on an exhibition and then terminates the collaboration with the artist but we can’t fill the role of a traditional gallerist.

So the way we try to aid the artists is to show the same artists several times, hold on them so they are not just displayed and forgotten but kept in rotation, that’s kind of what we are able to do within our resources.

– It is so annoying people who have money don’t buy more art from artist runs, cause that is where the money really matters.”

GIG: “Places like this have a pretty steep learning curb and our ambition has grown in accordance with our experience, so in the future we want to make even more, even better exhibitions involving international up and comers.”