Margrete Sørensen

(DK)

Margrete Sørensen (born 1949) has her artistic roots in historical constructivism and postwar concrete art. She works with a wide range of everyday materials such as plastic, graphite, wire, iron, wood, and plaster, and her practice is inspired by the ideas of the Russian constructivists from the 1920s. Like them, she explores how sculpture and installation can interact with space and the viewer. Her works challenge the boundaries between sculpture, installation, architecture, and visual art, and she investigates the spatial effects of materials and their impact on the experience of space.

A notable example of her work is an installation from 1981 at Charlottenborg, where she presented three spiral constructions made from different materials. The aim was to show how the same construction can change character through lighting, material choices, and placement in space. Sørensen's works are not only a playground for form and construction but also for spiritual, color-modulating, and poetic elements, which often play a central role in her art.

One of her most significant works is the altarpiece in Enghave Church in Vesterbro, Copenhagen, completed in 2019. This extensive gesamtkunstwerk consists of 28 black iron frames and screen-printed images on mirrors and glass, forming an interactive artwork where symbols from the Christian tradition are mixed with other images. This altarpiece creates a dialogue between the church's architecture, sculpture, and the viewer, reflecting Sørensen’s interest in how art can engage in a spatial and spiritual experience.

Sørensen has exhibited regularly at Stalke Gallery since 1988.

Margrete Sørensen Celebrates 75 Years with New Artstamp.dk

'NEIGHBOR MUTATION'"12 different drawings titled NEIGHBOR MUTATIONS contain “microchips” with reservoirs of organic material. For example, the fig tree, which symbolizes prosperity, renewal, ecology, healing, and hope. Opposites meet and create magnetic states. Mutations can arise spontaneously or be composed… To mutate can alter both positive and negative “signals.” Illusions of spatial formations and planes create an imaginary afterimage. A “neighborhood” is interconnected—like the building blocks of quality of life and belonging.

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