Ý tưởng & Sáng tạo VN (Vietnam Ideas & Creativities) [β7]

Trích dẫn: About my paper works (works of Peter Callesen): "Công việc của tôi gần đây dựa trên sư khám phá mối quan hệ giữa các hình thể hai và ba chiều. Tôi nhận ra việc đưa các mẫu giấy phẳng từ 2 chiều sang 3 chiếu trong không gian giống như là một trò chơi phép thuật vậy. Bời vì chúng vẫn giữ được tính nguyên mẫu, mà không thoát ra được các mẫu các. Điều này nghĩa là có hẳn hững kịch bản cho những nét cắt... " (note từ tác giả Peter Callesen @ http://www.oncotton.co.uk)

My paper works has lately been based around an exploration of the relationship between two and three dimensionality. I find this materialization of a flat piece of paper into a 3D form almost as a magic process - or maybe one could call it obvious magic, because the process is obvious and the figures still stick to their origin, without the possibility of escaping. In that sense there is as well an aspect of something tragic in most of the cuts. Some of the small paper cuts relates to a universe of fairy tales and romanticism, as for instance "Impenetrable Castle" inspired by Hans Christian Andersen's fairy tale "The Steadfast Tin Soldier", in which a tin soldier falls in love with a paper ballerina, living in a paper castle. Other paper cuts are small dramas in which small figures are lost within and threatened by the huge powerful nature. Others again are turning the inside out, or letting the front and the back of the paper meet - dealing with impossibility, illusions, and reflections.

I find the A4 sheet of paper interesting to work with, because it probably still is the most common and consumed media and format for carrying information today, and in that sense it is something very loaded. This means that we rarely notice the actual materiality of the A4 paper. By removing all the information and starting from scratch using the blank white 80gms A4 paper as basic for my creations, I feel that I have found a material which, on one hand, we all are able to relate to, and which on the other hand is non-loaded and neutral and therefore easier to fill with different meanings. The thin white paper gives at the same time the paper sculptures a fragility which underlines the tragic and romantic theme of the works.