
Careless Nature

Careless Nature

Forgetful Nature
Careless Nature

Careless Nature

Careless Nature

Careless Nature

Careless Nature

Careless Nature

Careless Nature

From left: Grey # 15, Grey # 14, Grey # 16, Grey # 17, 2019.
Grey # 17

Grey # 17, pencil on paper, 50 x 65 cm, 2019.
Grey # 16

Grey # 16, pencil on paper, 50 x 65 cm, 2019.
Careless Nature

From left: Grey # 12, 2018, Grey # 10, 2017.
Grey # 15

Grey # 15, pencil on paper, 50 x 65 cm, 2019.
Grey # 14

Grey # 14, pencil on paper, 50 x 65 cm, 2019.
Grey # 12

Grey # 12, pencil on paper, 50 x 65 cm, 2018.
Grey # 10

Grey # 10, pencil on paper, 50 x 65 cm, 2017.
Grid – patterns in grass

In May Maria Finn and landscape architect Jacob Kamp installed a temporary artwork in grass, Grid, in the Amorpark in Copenhagen. The work used the existing lawns that were cut in a grid, where the squares in the pattern were allowed to grow high, while the stripes were cut down and created paths where you could walk. To enforce the biodiversity in the city, the grass are allowed to grow high several places in the city’s parks and this was utilized in Grid to create a spatial element that offers a new experience of the park.
Grid – patterns in grass

Grid – patterns in grass

Grid – Patterns in Grass

Grid – patterns in grass

Drawing Attention

Everything Represents, Nothing is – Ingmar Bergman and the Arts

Everything Represents. Nothing is – Ingmar Bergman and the Arts

Det største i det mindste, det mindste i det største

Free Art, Free Children

Transforming Patterns

“Transforming Patterns”, embroidery, linen/cotton, 175 x 150 cm, 2018.
Patterns in Memory

Patterns in Memory

“Patterns in Memory”, pencil drawing, 29 x 42 cm, 2015.
Patterns in Memory

“Patterns in Memory”, pencil drawing, 29 x 42 cm, 2015.
Patterns in Memory

“Patterns in Memory”, pencil drawing, 29 x 42 cm, 2015.
I Never Promised You a Rose Garden

Patterns of Behaviour

“Patterns of Behaviour”, digital print, 18 x 27 cm, 2014.
30 Insignificant Minutes
Architecture and Control

The Ellstorp Lot –an Undefined Urban Landscape; Maria Finn, published in Architecture and Control, ed. Henriette Steiner, Annie Ring, Kristin Weel, Brill-Rodopi, Leiden, 2017.
Pist Protta # 80
About Work, Danske Grafiker

From left: “Telegram (US Tree after Josef Frank)”, “Telegram (Catleya after Josef Frank)”, walldrawing “US Tree after Josef Frank”.
About Work, Danske Grafiker

“US Tree after Josef Frank”, watercolour, 30 x 40 cm, 2017.
Mirakel (after Josef Frank)

Maria Finn and Jacob Kamp, landscape architect, have together created a work in grass for Olseröd’s Konsthall. The work is titled “Mirakel (after Josef Frank)”, and is based on Josef Frank’s textile pattern with the same title. Frank’s title suggests that it is a miracle that a large pattern can take shape out of a few parts that are repeated. Finn and Kamp uses a part of the pattern for a grass work where a simplified drawing is transferred to grass that is allowed to grow high over the summer. Frank created textiles for the home, and when patterns from them are transferred to a landscape, they also enlarge the intimate space where they usually occur. The frames of the home are expanded and connected to their surroundings.
Mirakel (after Josef Frank)

“Mirakel (after Josef Frank)”, Maria Finn & Jacob Kamp, Olseröds Konsthall, Olseröd, 2017.
Mirakel (efter Josef Frank)

“Mirakel (after Josef Frank)”, Maria Finn & Jacob Kamp, Olseröds Konsthall, Olseröd, 2017.
Mirakel (after Josef Frank)

“Miracle (after Josef Frank”, pencil drawing on paper, 29 x 42 cm, 2017.
Kiosk

“Transforming Patterns”, prints 80 x 120 cm, after water-colour sketches, 2015/2017, “Kiosk”, Sydhavnen, Copenhagen.
Kiosk

“Transforming Patterns”, prints 80 x 120 cm, after water-colour sketches, 2015/2017.
About Losing
“About Losing”, DVD, 3:13 min., 2015. “The Free Exhibition”, Den Frie – Centre for Contemporay Art, Copenhagen, 2017.
Catleya IV (after Josef Frank)

“Catleya IV (after Josef Frank)”, site-specific walldrawing for “Quantum Leap Festival”, a one day festival at Villa Veel, 20.8.2016, www.villaveel.dk.
Catleya IV (after Josef Frank)

“Catleya IV (after Josef Frank)”, site-specific walldrawing for “Quantum Leap Festival”, a one day festival at Villa Veel, 20.8.2016, www.villaveel.dk.
Four Telegrams and a Short Story
Four Telegrams and a Short Story
Catleya I (after Josef Frank)
Catleya II (after Josef Frank)

“Catleya II (after Josef Frank)”, MDF panel, 122 x 244 cm, 2016.
“Catleya III (after Josef Frank)”

“Catleya III (after Josef Frank)”, MDF panel, 122 x 244 cm, 2016.
Las babas del diablo I

“Las babas del diablo I”, pencildrawing, 72 x 104 cm, 2009.
Las babas del diablo II

“Las babas del diablo II”, pencildrawing, 72 x 104 cm, 2009.
Las babas del diablo III

“Las babas del diablo III”, pencildrawing, 72 x 104 cm, 2009.
Four Telegrams and a Short Story

“Telegram (Catleya)”, “Telegram (Lyon), pencildrawings, 50 x 65 cm, 2016.
Telegram (US Tree after Josef Frank)

“Telegram (US Tree after Josef Frank)”, pencil drawing, 50 x 65 cm, 2016.
Telegram (Lyon after Josef Frank)

“Telegram (Lyon after Josef Frank)”, pencil drawing, 50 x 65 cm, 2016.
Telegram (Catleya after Josef Frank)

“Telegram (Catleya after Josef Frank)”, pencil drawing, 50 x 65 cm, 2016.
Four Telegrams and a Short story

The Spring Exhibition 2016

Installationview “The Spring Exhibition”, Den Frie, 2016, “Patterns of Behaviour”, 10 framed digital prints, 18 x 27 cm, 2014.
Patterns of Behaviour

Patterns of Behaviour, digital print in frame, 18 x 27 cm, 2014.
Patterns of Behaviour

Patterns of Behaviour, digital print in frame, 18 x 27 cm, 2014.
Patterns of Behaviour

Patterns of Behaviour, digital print in frame, 18 x 27 cm, 2014.
The Spring Exhibition 2015
The Spring Exhibition 2015
Text:
Hun gik gennem parken mod museet. Da hun var fremme satte hun sig ned på en bænk. Foran sig opdagede hun projektørerne, som oplyste museet om natten. Hun forestillede sig, at man blev blændet, når de blev tændt og besluttede sig for at vente på, at det skete. Til sidst var det helt mørkt og hun forstod, at lysene ikke ville blive tændt. Det fik mørket til at føles anderledes, mindre kompakt og med flere konturer. Så vendte hun sig om og opdagede, at museet faktisk var oplyst, bare af andre projektører. Hun rejste sig og gik uden at være skuffet. Faktisk følte hun en tilfredsstillelse over, at det ikke blev, som hun havde forventet. Hun havde ønsket at et øjebliks blindhed kunne få billeder i hendes hukommelse til at forsvinde. Men i stedet opdagede hun, at mørket absorberede dem lige så godt.
She walked through the park towards the museum. When she got there she sat down on a bench. In front of her she discovered the projectors that lit up the museum at night. She imagined that you would be blinded when they were turned on and decided to wait for it to happen. Finally it was completely dark and she realized that the lights would not be turned on. It made the darkness feel different, less compact and with more contours. Then she turned around and realized that the museum actually was lit up, but only by other projectors. She raised herself from the bench and left without being disappointed. Instead she felt a satisfaction over the fact that it had not turned out as she had expected. She had wished that the flash of blindness could make images in her memory disappear. But instead she came to see that the darkness submerged them just as well.
Blinded
100 x Spring
Installation view ”Honeysuckle I – IV (after William Morris)”, 2014, ”100 x Spring”, Den Frie Centre of Contemporary Art.
100 x Spring
”Honeysuckle I – IV (after William Morris)”, pencil on paper under glass, 2014.
Honeysuckle (after William Morris) II
Honeysuckle (after William Morris) III
Honeysuckle (after William Morris) IV
Is it a Plane?
Is it a Plane?
”The Lighthouse”, drawings and texts on table, 2014.
”The Lighthouse”:
What she remembers most from her time on the island was when she bicycled down to the lighthouse. The dirt road that leads there is surrounded by fields, and she also remembers an impressive walnut tree that was growing in the courtyard of an old farm long the way. When she reached the lighthouse she never stayed there for long. But one warm day in August she took off her clothes and went bathing. One comes to the island by a ferry and when one gets off in the wintertime it is like walking into the darkness. When she thought of rainy, windy winter evenings it occurred to her that she had never seen the lighthouse at night. She also knew that she never would but she liked imagining it.
Quote from W. G. Sebald, ”Austerlitz”:
”On that summer night, said Austerlitz, we sat high above the estuary of the Mawddach in our hollow in the hills until daybreak, watching the moths fly to us, perhaps some ten thousands of them by Alphonso’s estimate. The trails of light which they seemed to leave behind them in all kinds of curlicues and streamers and spirals, and which Gerald in particular admired, did not really exist, explained Alphonso, but were merely phantom traces created by the sluggish reaction of the human eye, appearing to see a certain afterglow in the place from which the insect itself, shining for only the fraction of a second in the lamplight, had already gone.”
Refuge
“Summer after Monika, act IV”, walldrawing. “Refuge” with Anette Abrahamsson, Nässjö konsthall, 2013.
Refuge
From left: “Summer after Monika”, DVD 5:32 min., 2007. 8 sketches for walldrawings, “Summer after Monika, act I – VIII”, watercolour on paper, 28 x 40 cm, 2007 – 2013.
Refuge

“Summer after Monika, act V”, sketch for walldrawing, watercolour on paper, 28 x 40 cm, 2013.
Refuge

“Summer after Monika, act VI”, sketch for walldrawing, watercolour on paper, 28 x 40 cm, 2013.
Refuge
“Summer after Monika, act VIII”, sketch for wall drawing, watercolour on paper, 28 x 40 cm, 2013.
The Spring Exhibition 2013
“Defence Mechanisms”, pencil on paper, 29 x 42 cm, installationview “The Spring Exhibition”, Den Frie – Centre for Contemporary Art”, 2013.
The Spring Exhibition 2013
“Defence Mechanisms”, 10 pencildrawings on paper, 29 x 42 cm, 2013.
Defence Mechanisms: Sublimation

“Defence Mechanisms: Sublimation”, pencil on paper, 29 x 42 cm, 2013.
Defence Mechanisms: Isolation

“Defence Mechanisms: Isolation”, pencil on paper, 29 x 42 cm, 2013.
Defence Mechanisms: Undoing

“Defence Mechanisms: Undoing”, pencil on paper, 29 x 42 cm, 2013.
Kritik # 208

Artists as Researchers

“Artists as Researchers – A New Paradigm for Art Education in Europe”, ed. Mika Hannula, Jan Kaila, Roger Palmer & Kimmo Sarje, Academy of Fine Arts Helsinki, Helsinki, 2013.
Retake
Hidingplace

“Hidingplace”, walldrawing, “Retake”, Traneudstillingen Gentofte hovedbibliotek, 2012.
Retake
Retake
Location for the sound piece “Hidingplaces” in Øregårdsparken.
English translation below:
HIDING PLACES
He lowered his head and crawled under the table. After a while his neck started hurting and he was forced to lie on one side. He lay perfectly still and fell asleep.
She crawled under the bed. From there she could see feet walking past and then stopping. When the sound of footsteps disappeared from the room, she moved closer to the wall, feeling out of breath.
She squeezed herself in between the sofa and the desk. She had to lower her head and pull her feet back so as not to be seem. It felt very uncomfortable and after a while she started to panic.
She sneaked behind the kitchen door, closing it so that it would be more difficult to be seen. Time and again she heard someone go past without noticing her. Her pulse beat more rapidly whenever there was someone moving around in the room.
He hid himself behind the curtain in the hall. His feet stuck out and he tried making himself as flat as possible so as not to be noticed. He held his breath but in the end he sighed deeply and hoped this would reveal his presence.
She opened the cupboard door and crept in amongst the clothes, closing the door behind her. It was reopened several times without her being discovered. As the footsteps disappeared out of the room, she dreaded the thought of having to remain there for very much longer.
Hidingplaces I
Hidingplaces I, c-print 20 x 30 cm, 2012.
Han bøjede nakken og krøb ind under bordet. Efter et stykke tid begyndte hans nakke at gøre ondt og han var nødt til at lægge sig på siden. Han lå helt stille og døsede hen.
He lowered his head and crawled under the table. After a while his neck started hurting and he was forced to lie on one side. He lay perfectly still and dozed off.
Hidingplaces II

Hidingplaces II, c-print 20 x 30 cm, 2012.
Hun kravlede ind under sengen og kunne derfra se fødder passere som siden standsede op. Når skridtene forsvandt ud af værelset rullede hun forpustet tættere på væggen.
She crawled under the bed. From there she could see feet walking past and then stopping. When the sound of footsteps disappeared from the room, she moved closer to the wall, feeling out of breath.
Hidingplaces V

Hidingplaces V, c-print 20 x 30 cm, 2012.
Han gemte sig bagved gardinerne i entréen. Fødderne stak ud og han prøvede på at gøre sig så flad som muligt for ikke at blive opdaget. Han holdt vejret, men gav til sidst slip på luften med et dybt suk som han håbede ikke skulle afsløre ham.
He hid himself behind the curtain in the hall. His feet stuck out and he tried making himself as flat as possible so as not to be noticed. He held his breath but in the end he sighed deeply and hoped this would not reveal his presence.
Hidden Narratives

“Unfinished” # 2 – 7, pencil on paper, 2011 – 2012.
Boxes
Unfinished # 3

“Unfinished # 3”, pencil on paper, 29 x 42 cm, 2012.
Unfinished # 4

“Unfinished # 4”, pencil on paper, 29 x 42 cm, 2012.
Unfinished # 6

“Unfinished # 6”, pencil on paper, 29 x 42 cm, 2012.
Plum Velvet # 5

Collaboration with Vesna Pavloviç, 2012.
The Exception and the Rule
The Go-Between
Restless

“Restless”, installationview Danske Grafikers hus, 2012. From left: “Grey # 6”, “Grey # 1”, “Grey # 3”, “Grey # 2”, “Grey # 4”, “Grey # 5”.
Grey # 1

“Grey # 1”, pencil on paper, 50 x 65 cm, 2011.
Grey # 2

“Grey # 2”, pencil on paper, 50 x 65 cm, 2011.
Grey # 3

“Grey # 3”, pencil on paper, 50 x 65 cm, 2011.
Grey # 4

“Grey # 4”, pencil on paper, 50 x 65 cm, 2012.
Grey # 6

“Grey # 6”, 50 x 65 cm, pencil on paper, 2012.
Allusion

Installationview “Allusion” with Anette Abrahamsson at Antechamber – Project for Drawing and other Research, Copenhagen. From left: “T-shirt I + II”, c-print 20 x 30 cm, soundpiece “Allusion session” a mix of the sounds in the space, “Grey # 7”, pencil drawing 50 x 65 cm, 2012.
Grey # 7

“Grey # 7”, 50 x 65 cm, pencil on paper, 2012.
Les Paris sont ouvert

“Dad”, b/w photographs, installed in “Les Paris sont ouvert” at The Freud Museum, London.
Dad

“Dad”, b/w photograph 19 x 28 cm, 1997.
Dad

“Dad”, b/w photograph 17 x 25 cm, 1997.
Love Me, Love Me Not
Love Me, Love Me Not
Love Me, Love Me Not
Love Me, Love Me Not

At the opening of “Love Me, Love Me Not” Pablo Llambias read from his reinterpretation of Suzanne Brøggers essay “Kærlighedens veje & vildveje”.
Paris
Pieces in Conversation

Collaboration with Yvette Brackman, 2011.
Images Between the Word and the film
Images Between the Word and the Film

Gaps in the Landscape

“Gaps in the Landscape”, MDF-panel, 122 x 244 cm, 2010.
Images Between the Word and the Film
Images Between the Word and the Film
Parkscenario

När de möttes blev hon omfamnad av henne. Det fick henne till att hoppas på att hon hade förlåtit henne. De gick vidare nära varandra, och skrattade lite för högt varje gång den andra sa något. När de försvunnit bakom buskarna kunde man fortfarande höra dem skratta.
She gave her a hug when they met which made her hope that she had been forgiven. Walking along very closely together, they laughed a bit too loudly every time the other one said anything. You could even hear them laughing when they disappeared behind the bushes.
Parc de la Villette III, c-print 15 x 22 cm, 1999.
Parkscenario

Efter att ha suttit en stund på bänken upptäckter hon att en man i närheten iakttar henne. Hon reser sig och går men kan inte låta bli att vända sig om och titta på honom.
After sitting on the bench for a while, she noticed that a man nearby was watching her. She gets up and leaves but cannot help turning around to look at him.
Parkscenario: Parc de la Villette II, c-print 15 x 22 cm, 1999.
Parkscenario

En kvinna går under trädet. Hon har en svart kappa på sig som sluter tätt omkring kroppen. Lågt säger hon till sig själv att hon inte skulle ha lämnat honom ensam igen. A woman walks under the tree.
She is wearing a tightly fitting black coat. In a low voice she tells herself that she should not have left him alone again.
Parkscenario: Parc de Buttes-Chaumont I, c-print 15 x 22 cm, 1999.
Behind the Face
Las babas del diablo
The Cinematic Experience

“The Cinematic Experience”, ed. Alice Autelitano, Campanotto Editore, Paisan di Prato, 2010.
Soundtrack for a Park
Plum Velvet # 4

A Tecnical Problem
The Making of Technically Sweet

Catalogue for Technically Sweet, contributing artists: Elisabeth Subrin, Elsebeth Jørgensen, Frans Jacobi, Fredrik Jacobi, John Brattin, Lars Mathisen, Laura Parnes, Maria Finn, Mark Orange, Michel Auder, Michael Stickrod, Pia Rönicke, Ulrik Heltoft, Yvette Brackman.
In Silent Conversation with Ingmar Bergman
In Silent Conversation with Ingmar Bergman
In Silent Conversation with Ingmar Bergman
Summer after Monika

“Summer after Monika I”, pencil on paper, 29 x 42 cm, 2007.
Summer after Monika

“Summer after Monika II”, pencil on paper, 29 x 42 cm, 2007.
Summer after Monika

“Summer after Monika V”, pencil on paper, 29 x 42 cm, 2007.
Technically Sweet, Copenhagen
Summer after Monika
SUM # 1

published in SUM # 1, ed. Malene Vest Hansen, Billedkunstskolernes Forlag, Copenhagen, 2007.
Sometimes the Desert is Red

“Sometimes the Desert is Red”, installationview at The Apartment, Athens, Greece, 2005.
Sometimes the Desert is Red

“Sometimes the Desert is Red # 1”, c-print 30 x 45 cm, 2004.
Sometimes the Desert is Red

“Sometimes the Desert is Red # 13”, c-print 30 x 45 cm, 2004.
Sometimes the Desert is Red

“Sometimes the Desert is Red # 14”, c-print 30 x 45 cm, 2004.
Sometimes the Desert is Red

“Sometimes the Desert is Red # 3”, pencil drawing 31 x 44 cm, 2004.
Sometimes the Desert is Red

“Sometimes the Desert is Red # 5”, pencil drawing 31 x 44 cm, 2004.
Sometimes the Desert is Red

“Sometimes the Desert is Red # 13”, pencil drawing 31 x 44 cm, 2004.
Sometimes the Desert is Red
Plum Velvet # 3

Contributors: Søren Andreasen, Pia Kriegbaum Sørensen, Laura Thors, Jacob Kamp, Mette Vase, Katya Sander.
Plum Velvet # 2

Contributors: Lars Jörgen Svensson, Oliver Hangl, Andrea Creutz, Klaus Thejll Jakobsen, Katinka Ahlbom, Petri Raapana, Christine Melchiors, Cecilie Høgsbro Østergård, Peter Holst Henckel, Magnus Engstedt, Håkan Sandell, Elisabeth Apelmo, Johan Röing, Katya Sander.
Plum Velvet # 1

Contributors: Thomas Björk, Staffan Boije af Gennäs, Andra Creutz, Daniel Rose, Magnus Wallin, Benny R. Jørgensen, Annika Lundgren, Lise Nelleman, Petri Raappana, Annika Ström, Rikke Ruhwald, Simon Sheikh, Lisa Strömbeck, Fredrik Sandblom.