reby, my practice acts as a space for reflecting on processes of transition and cross-generational hybridization, pushing these questions into material and chorographical investigations of personhood.

You exist due to lack, distance, and longing. You materialize as my fantasy of the missing, telling stories of how they came to be. You are like a child’s animation of a lifeless object, transforming the insignificant. You become a sugar sculpture dressed as a snow landscape in Maniitsoq or a 3D printed neck support pretending to be a conch, in which I can listen to the sounds of crow scrawling and the whistling wind. You connect me to a destination, memory, or place—a linking entity. You are my 'cut, copy, paste' fantasy of selective memory, born from fragments. I give you a name, a history of belonging. You embody stereotypes, clichés, violence, naivety, romanticism, and deep waters. You are my intimate story, woven into the distance.


My work explores the fantasies that arise in the distance from my family roots—especially my Greenlandic heritage. These fantasies are often romanticizations and simplifications that reduce something far more complex to superficial images, stereotypes, and generalizations. In this reduction, their physical manifestations become violent and sometimes directly harmful. They evoke longing, desire, naivety, absurdity, sadness, and, most importantly, a reminder of loss. How does loss materialize? By examining inherited traumas and their impact on daily life, I seek to understand how personal experiences intersect with collective phenomena and how heritage plays a role in the formation of cultural identities.

Both figuratively and conceptually, I use a "cut, copy, and paste" approach in my practice to understand the unknown and to establish a relationship with it [1] (Angela Arruda, 2015, pp. 131-133). I take a sample of what I know and place it in a new context that is neither unknown nor known but rather a fusion of the two. In this way, "the third place"[2] (Pia Arke, 1995, pp. 44-45) or the third imaginary, as I call it, emerges, existing in the borderland between two or more cultures, languages, countries, and traditions. In my childhood, this borderland remained undefined, to some extent imaginary, without a solid foundation to confirm its ability to create realities about my Greenlandic heritage—realities rooted in the Danish perception of the foreign.
My relationship to this other heritage is a process of selection and construction based on what was available—a testimony to what I had access to as I grew up. Rather than revealing a presence, it indicates an absence. My works thus become evidence extending this story.

I combine installation, sculpture, performance, and text and draw on my background in choreography to challenge the physical boundaries of objects. History, even without a tangible or living body, moves through us, shapes our present, and influences our interactions with the physical world. Through movement, I explore the delicate interplay between proximity and distance, intimacy and separation, kinship and estrangement. My sculptures serve as a way to anchor these themes in something concrete. I use building materials, edible items, and household objects—materials deeply connected with the body and home—and transform them into elements of fantasy. These sculptures ground abstract ideas and reveal how they occupy physical spaces and fill space in our daily lives. Through my practice, I seek to create a space for reflection on transitions, intergenerational hybridity, and the material and relational aspects of human existence. Thus, my work bridges vast distances and intimate experiences, moving back and forth between the present and the past.

[1] Angela Arruda, Chapt.: Figuration and production of meaning in social representation, p. 131, (Federal University of Rio de Janeiro2015)

[2] "(...) and if we are to belong somewhere, we must create it ourselves. We need an expansion of the border for the creation of the "third place", even if it disturbs the logic of the relationship between the first and third worlds.”, (translated by the author of this text), Etnoæstetik (Ethno-Aesthetics), Pia Arke, p. 28, ARK, 1995.



ace for reflecting on processes of transition and cross-generational hybridization, pushing these questions into material and chorographical investigations of personhood.