Ole Martin Lund Bø
Tuesday, 9 October 2012
Work from With Day for Night.
“…The title refers to a cinematographic technique used to simulate a night scene, while shooting at day time.
Tinted glass, metallic foil, dark wooden boards, a furry tennis ball. Familiar features from storefronts, lowriders, executive offices and clay courts. These works are extractions, rather than abstractions – a variety of veils and windows from the corporate skin of our contemporary cities. Appearances can be deceptive: The transparent surface of an institutional building does not guarantee a similar transparency in its affairs. In Lund Bø´s works, the monochrome surfaces are considered for their concrete material qualities as well as external connotations, short circuiting the idea of a self referential abstraction. A massive mahogany wall and a ruffled metallic foil both suggest clandestine activities; be it financial or sexual. These monochrome surfaces are stage sets, codes and catalysts, producing their own specific rules of engagement. Materials inscribed with meaning, radiating power and desire. There is a sleazy aura to these material arrangements; cheap goods borrowing the shine of a more exclusive relative. Or visa versa. The assemblages have flawless, unspoiled quality in contrast to the rifts and scratches apparent in the photographic works. Like clocks, they impose a timescale on their surroundings. The patina of a grey vinyl floor becomes a relief; a superficial archeological index of human activities with a bright yellow tennis ball as an unpredictable punctum.” – Jan Freuchen