Sculptures by Tine Bek
Tine Bek is a photographer and a good friend of Carcel. Using our pieces she has created beautiful sculptures and captured them in her Copenhagen home. We had a chat with her about what inspires her, current projects, and how she uses photography as a creative outlet.
Where do you find inspiration for your projects?
Without sounding too romantic I am always fascinated by color tones and daylight. I think it comes from being from a northern country and always appreciating the light returning in the spring. At the moment, especially during these strange and scary Corona times, I have noticed the light in my apartment changing, and how it hits certain objects in the room at very specific times, showing a whole new side of them. It's so magical.
I generally take in images and ideas from most things I interact with. Depending on what specific series or theme I’m working with I try to get deep into understanding it. I use museums a lot and try to attend events, talks, and lectures whenever I can. In the past I have also used traveling as a source of inspiration, both by seeing new places and different ways of living but mainly by seeing my own surroundings differently every time I return home.
How do you normally start a creative process? And what makes a good process for you?
Most of my work deals with the thought of excess, luxury, and comfort while considering what it means to each person, and how this is reflected onto the things we chose to surround ourselves with. My Komfort Skulptur project originated with these thoughts in mind, along with a general interest in foam as a material. So sometimes the process is led by an idea, other times it is more material and will evolve by experimentations and trials.
This past year I have been working on a new exhibition which is planned to be opening this summer at the Royal Stables in Copenhagen (depending on how the Corona situation develops in Denmark). I have therefore spent a lot of time reading about and trying to understand the relationship we have with horses today. It’s been so amazing diving so deep into a project and allowing myself to just think about horses all the time. The work I’m making is focused specifically on the white Kladruber breed which is seen daily pulling carriages through the center of Copenhagen representing the queen and the royal family. I find it so odd and fascinating at the same time that we see the past and our own history so vividly represented in the horse.
Table by Paul Deslandes
What is special about photography as a creative medium?
Photography is a medium I have always loved and through my work it always acts as the main character. As I have gotten to understand my work better and my methods, I have become more aware of the ‘difficulties’ of the image. I think photography has always been caught a bit in different roles, because it has so many different kinds of purposes and we are used to seeing thousands of images each day.
I think this it's something I’m very aware of since I also use photography for commercial work, and I’m always trying to juggle this. What I find especially fascinating is how everything else relates to photography and the power of the image due to our expectations of it. Personally, I use this in my work by trying to test the possibilities of the images in relation to three-dimensional objects. By changing the light on an object, the angle or framing, the whole story of this object changes.
Pillow by Paul Deslandes
Explain the idea and process of this sculpture project with Carcel pieces?
In a way this collaboration with Carcel reminds me a lot of the process I use when creating my temporary sculptures of foam. We wanted to create something playful by using the spaces available at the time. The images are taken in my studio, my bedroom, and on the path from one location to the other. At the time of making the images, Copenhagen was still very much shut down and a lot of people were still at home. So, we wanted to see how much is possible with these frames in mind. Using only natural light, and the two spaces available to me, along with a very big box of Carcel clothing.
For the more sculptural images I tried to look at the individual pieces of clothes not so much as garments but as material, hereby letting the material itself determine the final shape. Especially the yellow silk dress became one of my favorites to experiment with. When the sun hit the fabric, it looked almost like simmering gold.