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About My Work 

When does something exist? When does something have meaning? What is sculpture and what is space? These are questions I like to explore.

My work springs from a continuous inner dialogue with places Iíve been, books Iíve read, people Iíve met, my own works and the works of others. Sometimes the catalyst is a commission. Creating a plaza, using art to tie together several indoor and outdoor spaces into an aesthetic whole, decorating a building Ė these are some of my commissions from recent years. Itís certainly been thrilling to find interfaces with architecture and landscape art.

Utilizing qualities of elasticity, suppleness and reflectiveness, or non-reflectiveness, I process different materials and structures into spatial compositions. When completed, they are ready to enter into new dialogues.

Movement, time, existence, space, light and darkness are keywords in my work.

A physical dialogue with the materials in space is crucial, as is the subsequent reflection and analysis when I step back from my actions. I experience this as a fluent dialogue between hot and cold processes Ė thinking and feeling with your body in space.

At times, I start a piece with a vision or a bodily or spatial sense of where to go with this or that material, and then I see what happens. The trigger can also be an object, a shape, a structure, a way of combining two things, or a form of being. Iím often surprised by what I end up with, and thatís important. I never know what landscape Iím venturing into when I start a new piece. I only know that I always need to plunge into new scenery, since old, familiar places tend to sand over and lose appeal. Iíve been there.

I frequently get unsure of where Iím going. Everything is open until I choose a point to jump off from and the first limitations set in. Upheaval, deterioration and creation in process, then doubts and starting over until the work can absorb no more. Itís daily work, discipline, calm and inspiration.

Wondering at certain habits or conventions can start something: the use of right angles, a straight road or the body of a building and how it relates to its surroundings. At some level anythingís possible, even if it isnít.

Sometimes restrictions provide constructive friction, but they can also inhibit or even damage the works. Finances, tradition, culture, history and politics all pose restrictions.

Veo Friis Jespersen, Copenhagen 2006