My work examines the fantasies that arise in the distance from my familial roots, particularly my Greenlandic heritage. Fantasies I myself grew up with, and which I recognize in the Danish imagination of Kalaallit Nunaat. These misconceptions reduce a complex history and culture to superficial images, stereotypes, and generalizations. This reduction produces perspectives that are both violent and at times directly harmful, as can be traced throughout history. Through my own decolonial work and a deep engagement with my personal history, the question of how loss materializes has become a central point of departure in my practice and sculptural work.

This includes themes such as colonial violence, intergenerational trauma, and transcultural experience. I am particularly interested in how these conditions unfold in the everyday, and how personal narratives are reflected in larger structures and collective phenomena that contribute to the formation of cultural identity.

A central method in my artistic development, both conceptually and practically, is a form of “cut, copy, and paste” strategy that helps me understand the unknown and establish a relationship to it [1] (Angela Arruda, 2015, pp. 131–133). I select fragments of what I know and place them in new contexts that are neither fully known nor unknown, but rather a merging of both. In this way, a “third place” [2] (Pia Arke, 1995, pp. 44–45)—what I call the third imaginary—emerges. It exists in the borderland between cultures, languages, countries, and traditions.

In my upbringing, I did not have the language to describe this way of producing reality, but over time it has become clear that it is a fundamental way in which we all construct meaning in encounters with what we do not understand. My relationship to this other origin is therefore a process of selection and construction based on what was available—a testimony to what was present in my upbringing. Rather than pointing to a presence, it points to an absence. My works thus function as traces that continue this fragmented narrative and make visible the complexity that arises in cultural encounters and collisions.

I work with installation, sculpture, performance, and text, drawing on my background in dance I wish to challenge the physical boundaries of objects. History, even without a material or living body, moves through us, shapes our present, and affects our encounter with the physical world. In my work, I explore the fragile interplay between proximity and distance, intimacy and separation, kinship and estrangement.

My sculptures anchor bodily and emotional experiences and make visible how they shape and organize physical space in everyday life. I work with materials closely tied to the body and the home, such as construction materials, edible elements, and domestic objects, all of which undergo a transformation in which their characteristics, functions, or familiar attributes are turned upside down. In this way, my practice becomes a space for reflection on processes of transformation and intergenerational hybridity, where these processes are extended into material, choreographic, and textual investigations of personhood.