Biography

Anne Maria Udsen was born Aarhus, Denmark in 1967. After 25 years in Copenhagen she´s currently living and working in the south of Sweden.

Anne Maria Udsen is predominantly using the medium of painting. She has had several exhibitions at Grand Palais in Paris, Ljungberg Museum in Sweden, Vejle Art Museum and National History Museum both in Denmark and others. She has commissioned mayor portraits hanging at Copenhagen City Hall and Thisted Town Hall in Denmark. Her work has been adopted into private collections in Austria, London, Sweden and Denmark among others.

In 2016 she has made a public manifestation to a new a city square in Denmark including three sculptures ”Amboltaurus at the waterhole” in steel in cooperation with landscape architect Christer Göransson.
Her early debut took place at ”Den Frie” in Copenhagen in 1995 and an international debut at The Royal Academy of Art in London in 2001. She is now a member The Swedish Artists National Organization and danish Visual Artists etc.

Anne Maria Udsen has very often questioned contemporary social phenomena and ethical issues in her work: The Infantry Childhood (animal ethics) 1997-98, Outwit 1998-99, Under the Skin (body ideals) 2002-07 and Genesis (genetic manipulation) 2013- and her currently work; Residuum – something remaining (remains of a beetle). Anne Maria Udsen has studied visual communication and aesthetic learning processes at Danmarks Lærerhøjskole 1993-94. Continuing education: Visual Arts at the Royal Academy in Copenhagen and in Private Art school in Copenhagen 1990-91. Classical drawing school at Ny Carlsbergs Glyptotek, Copenhagen, 1990. The Folk Art school in Holbaek, 1988.

Work Statement
I try to visualize the borderland between the human process of building and nature’s process of decomposition. In this borderland, I find the beauty of transience. Elements of decay and consumption become apparent as do glimpses of their erosion in the image compositions.
These changes represent the transience of life or, vanitas, as if it were a contemporary still life. In glimpses, there are subtle shifts, openings that reveal basic forces of construction and destruction, like a shutter that opens and presents the viewer with a new dimension. Very often I isolate or shape my objects in order to strengthen the monumental impression.

My mental landscapes I stage in a simple context where I often use objects, animals or nature to comment on everyday life, relationships, life conditions etc.

I cover my canvas with several layers of finest chalk and repeat this proces many times. I plan my images in advance in order to dispose the size of my canvas and to make surprising cuts. During the process when I compose my figures, I try to make a simple structure. In my last paintings I portrays the insects left behind as they died and reproduce and scale up a piece of nature that usually does not catch our attention.

My project always starts with the study – the professional, scientific investigation and the subjective, personal study. The physical experience is my artistic passion, and that it´s because I want to be able to notice and understand what I work with, before I interpret and create metaphors.
I mix oil with metal sheet to achieve an extra artistic dimension, an increasing three-dimensionality in the process between figuration and abstraction.The metal sheet that has the alchemical property to change character with chemical process.
Each of my paintings is deeply unique and emerges through its own process. Gradually I have become more concerned with the spatial possibilities offered by the surfaces characteristics.

In her work Anne Maria Udsen process the themes of life’s cycles; birth, growth, aging and death. In the quest for an understanding of boundaries between human construction processes and nature’s destructive forces, she finds the beauty of volatility.

The Genesis series is about human intervention, in what we call nature’s beauty. That which is frightening and that which is beautiful grow together into one unit. What is natural and what is unnatural cannot be separated. A special technique in which sheet metal evolve and change during chemical processes and which then interacts with the oil painting, gives her work an abstract dimension. Udsen often use ambiguous objects, figures and industrial forms which are taken out of context, isolated, and thereby given a monumental character.

I try to visualize the borderland between the human process of building and nature’s process of decomposition. In this borderland, I find the beauty of transience. Elements of decay and consumption become apparent as do glimpses of their erosion in the image compositions. These changes represent the transience of life or, vanitas, as if it were a contemporary still life. In glimpses, there are subtle shifts, openings that reveal basic forces of construction and destruction, like a shutter that opens and presents the viewer with a new dimension. Very often I isolate or shape my objects in order to strengthen the monumental impression.

I stage my mental landscapes in a simple context where I often use objects, animals or nature to comment on everyday life, relationships, life conditions etc.
I mix oil with metal sheet to achieve an extra artistic dimension, an increasing three-dimensionality in the process between figuration and abstraction.

Gradually I have become more concerned with the spatial possibilities offered by the surfaces characteristics. I work with metal sheet that have the alchemical property to change character with chemical process. This gives the pictures a particular surface that blends seamlessly with the underlying oil painting.

Light and observer

by atomic physicist Tom Juul Andersen

I am sitting quietly watching Anne Maria Udsen´s portraits, when I to my surprise discover that the portrait watches me. The person in the picture is registering my every move as if I was a stranger invading his territory.
I move a bit uncomfortably on my seat and decide to walk around in the room to give the portrait a chance to relax. But his eyes are following me and I am forced to start a conversation with him. We have a long talk about art and science and when we are finished I can see that his gaze has changed character. We are no longer strangers, we understand each other. It is a great portrait.

The development of physics in the 21st century has changed our understanding of fundamental perception of mass, time and room. The working method of physics has been to analyse nature from the aspect of interplay between light and observer, and the most surprising conclusion is, that every observation changes the object observed and is being processed by our consciousness.

Physics has been able to widen this conclusion to ”light that cannot be seen”. Light is only a small area of the enormous spectra of so called electromagnetic radiation that developed between objects.
Close to the longwave red light you find the infrared, the heat radiation. When you stand in front of a picture you emit an enormous amount of heat in comparison with the picture, because you have a higher temperature. But even if the picture´s temperature is much lower that of a human being it also emits a little heat. The observer and the picture see each other with light and heat radiation – but they are never alone.

At the other end of the spectrum, closely following the short wave violet colour scheme, you´l find the so called ultra violet area. The “light” that we cannot see is part of the Universe’s portrait of itself that mixes in the dialogue between the picture and a whisper of a grandeur and touching story.

I am deeply greatful to Anne Maria Udsen who has conveyed this to me.