Ane Henriksen

Mit billede hænger på Østerport St. spor 6.
Kirsten 90 år.
En lille dusk vintergækker blev plantet, da mine forældre købte hus for 63 år siden, nu har den spredt sig over hele skrænten, og vidner om et langt liv.

https://www.instagram.com/hannelisethomsen/

Pløjemark 2016.

Nature is threatened, I hope this is expressed in my work, which at first glance can be experienced as endearingly recognizable nature, but, when you move closer and experience the material, perhaps arouses more uneasiness and thoughts about how human activity is a threat to nature.
By framing the natural motif in a solid oak frame, I try to direct our thoughts to how we store small remains of nature in reserves - in the same way as we store exquisite objects of the past in our museums.

http://www.billboardistanbul.org
Trine Søndergaard, Cecilie Gravesen, Ane Henriksen og Sophia Kalkau.

Urban Growth 2018 (265 x 235 cm.)
Vanter samlet langs cykelstierne i København vinteren 2017/18. Jeg oplever dem som en slags byløvfald, som jeg har prøvet at få til at gro og svæve mellem tråde.

Jagtmark - Markens Skød 2017 (154 x 227 cm.)

Shirts from my local dry cleaner are woven into an Office Landscape. 
Plus the work: A Mans World in the Hands of Woman.
38 skjorter fra mit lokale renseri er flettet i et Kontorlandskab - Sommer 2018.

For 14 days in November 2017 my work National Tartan DK is exhibited in Danmarks Nationalbank, where I gathered the 67 worn out shirts in 2015/16. The shirts are now back as a work visiting the clan. In 2019 the artist Torgny Wilcke used my work in his decoration of a school in Hvalsø.

In the project entitled Business Sky, the often-stereotyped roles of men and women are woven together. Ane Henriksen has combined feminine handicrafts with the masculine business world to create a large picture composed of cast-off shirts.
Under their business suits, men button their up shirts; they cover their chests with pastel colours, light blues, pinks, whites as well as both checks and stripes. Does the uniform of the business fraternity represent the colour of the male within the animal kingdom?

http://svfk.dk/project/ploejemark-jagtmark
http://www.navnligthy.dk/oversigt/ane

UDSTILLINGSKATALOG (14MB)

Andy - Kvindesvøb 2011 (190 x 150 cm.)

The work A State of Mind is a state between me and the loom - and can be read as a kind of figurative expression of being. In my pictorial life, I have occasionally taken as a point of departure the loom's own ability to tell stories - using the logic of the loom, as in this case with the technique damask, used e.g. for tablecloths, where the image arises in a play of light in a contrast between warp and weft threads. There I am again in A State of Mind - though in an illusion of the technique.

http://www.billboardcasablanca.org/
My Family

About Recall: My family, grandparents, uncles and aunts have been farmers. During big celebrations  the tables were covered with white damask cloth. I wondered about theese stables of white linen – washed, handlet with bluing, hung out along the fields to dry, carefully ironed and sharp folded. Maybe I also felt a little mystified around all that work and caring around the white - and confused around the nearly invisible patterns. When I grew older I discovered that theese innocent linens, if you looked closeley at the detail, could give erotic associations.

Well into my 50s I took up the sampler tradition, and in excessive pink tones I marked a new beginning using symbols and good omens in hope of a bright future... Self-deprecatingly, I tried to go all the way and flirted with banality, with a result that became a story between a sampler and a kind of Millefleur look-alike. Samplers are a form of social history that can be reminiscent of finding a page from a diary. You can see a sampler as a small personal greeting.

The monumental weavings Trembling appear as large woven sketches, and seek recognition somewhere between the human skin and the surface of the planet - and the vulnerability of both. The materiality exposes the fragility, the worn beddings adding a sensitivity to the image.

Sublimated longing, the hairy male chest is visualized as a religious icon - a loving ironic hint to the solo life of the modern woman.

Billedet er købt af Hrs. Davids Legat for Slægt og Venner og hænger på Struer Statsgymnasium.

Udstilling på Holstebro Kunstmuseum 2001 med Per Bak Jensen.

Vejbred - Den Hvide Mands Fodspor / Plantago - The White Man's Footsteps 1997 (144 x 179 cm.)

1995-96. Mine billeder opstår ud af min nære verden, min synlige virkelighed i Hanstholm Reservatet langs havet såvel som fra Hanstholm Centret! Eller hvor jeg ser at banelegemet i Thisted er tegnet med smukt vissent græs, ligesom i reservatet, men jeg ved samtidig fra informationsstrømmen, at ved banen er den skønhed jeg ser et resultat af brugen af Roundup...

1993-97 (billeder á 196 x 140 cm.)
En serie tæpper, hvor jeg lægger min spredte viden og finder min koncentration – i samarbejde med folketraditionen – i traditionelle skaftevævsteknikker – med erindringens stilfærdige tone – som gulnede fotos og gamle udklip.
Jeg tænkte dem som Verdenstæpper. En kommentar til Verdenssituationen, som jeg oplever den fra strømmen af medieinformation. Jeg læste et sted, at det eneste spor FN-tropperne havde efterladt i Jugoslavien, var de tæpper som ligene var svøbt i. Består vores hjælp i at få ligene pakket pænt ind?

1983 debuterede jeg på Kunstnernes Efterårsudstilling, Den Frie, med billedet Bunker (220 x 310 cm.) og modtog på udstillingen Georg Jensen Sølvsmedies Årspris.