Ingrid Eggen experiments with figurations with a raw intimacy. She ties knots in the established forms of her subject: body, nature or object. Consistent distortion evokes various psychological and existential issues in the form of an acrobatic gesture with the hand or a portrait where the face is hidden behind hair. The rigid body plays against a soft, pliant principle, inasmuch as postures can suggest both heavy straitjackets and a fundamentally malleable mass.
In Condensed Eggen has photographed compacted dust from tumble-drier filters. Collecting fluff from various laundrettes around Oslo, Eggen has been able to create amorphous masses, photographed as readymades. As motifs they can appear as lumpy landscapes in miniature, or folded body parts. The soiled masses of dust spread uncertainty about their own object status. Their dysfunctional origin expresses something unusable, something left over. At the same time the body language of these objects expresses something surprisingly independent, and the compacted dust acquires a clear sculptural presence. The abstraction also suggests an indirect human presence – in the form of crumbled remains of clothes and traces of use, with strands of hair sticking out. These are also material abstractions of people – distorted and in constant flux.
In Condensed Eggen has photographed compacted dust from tumble-drier filters. Collecting fluff from various laundrettes around Oslo, Eggen has been able to create amorphous masses, photographed as readymades. As motifs they can appear as lumpy landscapes in miniature, or folded body parts. The soiled masses of dust spread uncertainty about their own object status. Their dysfunctional origin expresses something unusable, something left over. At the same time the body language of these objects expresses something surprisingly independent, and the compacted dust acquires a clear sculptural presence. The abstraction also suggests an indirect human presence – in the form of crumbled remains of clothes and traces of use, with strands of hair sticking out. These are also material abstractions of people – distorted and in constant flux.In Condensed Eggen has photographed compacted dust from tumble-drier filters. Collecting fluff from various laundrettes around Oslo, Eggen has been able to create amorphous masses, photographed as readymades. As motifs they can appear as lumpy landscapes in miniature, or folded body parts. The soiled masses of dust spread uncertainty about their own object status. Their dysfunctional origin expresses something unusable, something left over. At the same time the body language of these objects expresses something surprisingly independent, and the compacted dust acquires a clear sculptural presence. The abstraction also suggests an indirect human presence – in the form of crumbled remains of clothes and traces of use, with strands of hair sticking out. These are also material abstractions of people – distorted and in constant flux.In Condensed Eggen has photographed compacted dust from tumble-drier filters. Collecting fluff from various laundrettes around Oslo, Eggen has been able to create amorphous masses, photographed as readymades. As motifs they can appear as lumpy landscapes in miniature, or folded body parts. The soiled masses of dust spread uncertainty about their own object status. Their dysfunctional origin expresses something unusable, something left over. At the same time the body language of these objects expresses something surprisingly independent, and the compacted dust acquires a clear sculptural presence. The abstraction also suggests an indirect human presence – in the form of crumbled remains of clothes and traces of use, with strands of hair sticking out. These are also material abstractions of people – distorted and in constant flux.
