Drifting Colours, Soft Structure
Trine Tronhjem and Liv Marie Rømer work at the threshold between surface and atmosphere. Their practice insists that textile can constitute space rather than merely dress it. At scale, colour and pattern become structural rather than decorative.
The exhibition brings together four bodies of work. A hand-printed room divider hangs at the centre of the gallery, physically separating the two exhibitions while belonging to neither in its entirety. Its pattern moves between the digital and the analogue, elements that demand precision in making, yet read as loose and ethereal when hung. A bed crown in digitally printed silk marks the imaginary placement of a bed: no bed, no body, but the canopy holds their outline. Seen up close, the composition resolves into distinct elements; from a distance, it dissolves into a soft ombre: a single work that shows the full range of what the print can carry. A series of wall-mounted lights in powder-coated metal explores colour as both a material and an immaterial fact: the colour in the metal surface is visible when the light is off; when it is on, reflected light produces gradual colour transitions that no single pigment could achieve. Three hanging lamps, made in collaboration with designer Anna Søgaard, work with four staggered layers of textile suspended by a weight-based system she developed for the work. As the layers shift, light passes through them at varying intensities, producing colour blends that neither the textile nor the light could achieve on its own.
Across all four works, the same proposition recurs: that colour, light, and textile share a spatial potential rarely asked of them. The placement of textiles creates open and closed views within the room; the light objects draw the eye through. What Tronhjem Rømer built is not an interior but a field of perception, a space that changes depending on where you stand.