Cloudy. Raised sacks. Thrown straw forward from the outermost swath, 2024
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Baldacchino, 2019
In the Darkness We Ask the Sun to Remember Us, Museet of Contemporary Art in the Sct Hans Garden, 2024
Exhibition texts:
Cloudy. Raised sacks. Thrown straw forward from the outermost swath, 2024
Wild clay pigments, wild clay fired as clayware and stoneware, fired stone, mo-clay, bark, lichen, glue adorns the Orangery wall with its reddish earth-coloured wild clay pigments and a complex network of wild clay, mo-clay, bark, and lichen. All of these natural materials gathered by Ida Raselli from forest floors, roadsides, limestone quarries, and beaches from around the Danish countryside – also the area around Roskilde Fjord – and later dried, fired, or processed in some way. Apart from her interest in nature’s materials, Raselli is also fascinated by its cycles and brings the seasons into her work production.
Summer sees the manifestation of the Earth’s riches; the sun’s life-giving energy peaks and nature’s stores are at their most abundant. Raselli therefore spends the summer collecting materials. In the autumn, the harvested crops can be processed, smoked, dried, boiled, preserved, and stored to be enjoyed during the winter. Raselli uses the autumn to process her materials. It is a time of transition, foreshadowing the coming of winter, where the soil has yielded its share and now anticipates a period of rest – people, too, feel the tiredness in their bones and the need for rest. The harvest festival does not only mark the change of season; it also serves as a reminder to pause, listen, and follow the basic
conditions of nature. Via physical experience and a deep understanding of her material, Raselli has gained a healing relationship with nature and, not least, with herself.
Baldacchino, 2019
Materials: stoneware, concrete.
Together, the four Gothic rods or small columns make up the work Baldacchino. Placed between the tall beds of perennials in the Fruit Garden (Frugthaven), they strive to find points of balance, reaching for the light. Like temple ruins from a distant past, the work is a reflection on European history, where humanity’s view of itself, its significance, and justification has had disastrous consequences for our shared planet. As a monument for climate grief, the work also marks a change in Raselli’s practice, where both the materials she collects as well as climate grief are processed and addressed. This is also evident in Cloudy. Raised sacks. Thrown straw forward from the outermost swath, Raselli’s other contribution to the exhibition.
Cloudy. Raised sacks. Thrown straw forward from the outermost swath, 2024
Wild clay pigments, wild clay fired as clayware and stoneware, fired stone, mo-clay, bark, lichen, glue adorns the Orangery wall with its reddish earth-coloured wild clay pigments and a complex network of wild clay, mo-clay, bark, and lichen. All of these natural materials gathered by Ida Raselli from forest floors, roadsides, limestone quarries, and beaches from around the Danish countryside – also the area around Roskilde Fjord – and later dried, fired, or processed in some way. Apart from her interest in nature’s materials, Raselli is also fascinated by its cycles and brings the seasons into her work production.
Summer sees the manifestation of the Earth’s riches; the sun’s life-giving energy peaks and nature’s stores are at their most abundant. Raselli therefore spends the summer collecting materials. In the autumn, the harvested crops can be processed, smoked, dried, boiled, preserved, and stored to be enjoyed during the winter. Raselli uses the autumn to process her materials. It is a time of transition, foreshadowing the coming of winter, where the soil has yielded its share and now anticipates a period of rest – people, too, feel the tiredness in their bones and the need for rest. The harvest festival does not only mark the change of season; it also serves as a reminder to pause, listen, and follow the basic
conditions of nature. Via physical experience and a deep understanding of her material, Raselli has gained a healing relationship with nature and, not least, with herself.
Baldacchino, 2019
Materials: stoneware, concrete.
Together, the four Gothic rods or small columns make up the work Baldacchino. Placed between the tall beds of perennials in the Fruit Garden (Frugthaven), they strive to find points of balance, reaching for the light. Like temple ruins from a distant past, the work is a reflection on European history, where humanity’s view of itself, its significance, and justification has had disastrous consequences for our shared planet. As a monument for climate grief, the work also marks a change in Raselli’s practice, where both the materials she collects as well as climate grief are processed and addressed. This is also evident in Cloudy. Raised sacks. Thrown straw forward from the outermost swath, Raselli’s other contribution to the exhibition.
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