The exhibition ”Patterns for Care” at Bonamatic, follows two tracks, one that unfolds in the intimate domestic space, and one that leads out into the common public space. Maria Finn and landscape architect Jacob Kamp have created works with references to textile patterns by the Danish pioneer in textile printing, Marie Gudme Leth, created in her own studio from the 40’s until the 60’s. In a series of collages Finn combines shoppinglists given to her while working as a home-helper in 90’s, with watercolour renderings of details from Leth’s patterns. Finn and Kamp have created a connection to De Gamles by, a historical and still functioning area with care facilities, where they on site has transferred a detail from one of Leth’s patterns with school chalk. The detail, a leaf, appear in different colours along the buildings to highlight how we construct environments for elderly and vulnerable residents. With a focus on the detail and the microhistory, Finn and Kamp here establishes a situation that connects intimacy and empathy with public space.
Patterns for Care
“Shoppinglist”, embroidery on linen/cotton, 95 x 54 cm, 2025. (1 package of rye bread, Welfare, 1 tray of liver paté, Care, 1 cucumber, Community, 6 eggs, Patience, ½ butter, Patterns)
Patterns for Care
“Kirsebær (after Marie Gudme Leth)”, appliqué, embroidery, linen/cotton, 110 x 153 cm, 2025.
Patterns for Care
“Vedbend (efter Marie Gudme Leth)”, watercolour, 30 x 40 cm, 2024.
Patterns for Care
“Mexico” (after Marie Gudme Leth), watercolour, 30 x 40 cm, 2024.
Patterns for Care
“Indiens blomster (after Marie Gudme Leth)”, framed watercolour, 30 x 40 cm, 2024.
Patterns for Care
“Patterns for Care”, digital print on dibond, 50 x 75 cm, 2025.
Patterns for Care
“Patterns for Care”, II digitalt print, 26,5 x 40 cm, 2025.
Patterns for Care
“Patterns for Care”, III + IV, digitalt print, 26,5 x 40 cm, 2025
In the Darkness, We Ask the Sun to Remember Us
Miracle (after Josef Frank), Museum for Contemporary Art, Roskilde, at Sct. Hans Garden, 2024.
In the Darkness, We Ask the Sun to Remember Us
In the Chapel Park, Sct. Hans Garden, Roskilde, a large patterned decoration has been cut in the grass. Together, visual artist Maria Finn and landscape architect Jacob Kamp have created the large-scale grass installation “Mirakel” (after Josef Frank)”. The work is created by shaping the grass and leaving it to grow. The work is based on a textile pattern from the 1920s designed by Austrian-born architect, artist and designer Josef Frank (1885-1967), in which a complex and varied pattern emerges and continually develops by repeating and rotating a single element. A small part of Frank’s pattern has been transferred in a large scale to the grass of the Chapel Park by Finn and Kamp. Here, it once again becomes part of the landscape and visitors can view it from a distance or step inside it.
Hypothetical Picnic
Hypothetical Picnic
Daydream # 18, 19 (Kynnefjäll), digitalt prints.
Hypothetical Picnic
Daydream # 18 (Kynnefjäll), digitalt print on barytapapir mounted on dibond, 130 x 86 cm, 2021.
Hypotetisk picknick
Daydream # 19 (Kynnefjäll), digitalt print on barytapapir mounted on dibond, 130 x 86 cm, 2021.
Hypothetical Picnic
The Zone, embroidery, linen/cotton, 170 x 150 cm, 2024, further down Barsebäck I, photo banner, 390 cm x 260 cm, 2022.
Hypothetical Picnic
Barsebäck II, III, photo banner 390 x 260 cm, 2022. Hypothetical Picnic, HD-video, 10 min., 2023.
Hypothetical Picnic
“Hypothetical Picnic I”, pencildrawing 29,7 x 42 cm, 2023.
Hypothetical Picnic
“Hypothetical Picnic II”, pencildrawing 29,7 x 42 cm, 2023.
Hypothetical Picnic
“Hypothetical Picnic III”, pencildrawing 29,7 x 42 cm, 2023.
Hypothetical Picnic
Eclipsed (Lena), pencildrawing on paper, 50 x 65 cm, 2023.
Hypothetical Picnic
Eclipsed (Maria), pencildrawing on paper, 50 x 65 cm, 2023.
Hypothetical Picnic
Eclipsed (Lotta), pencildrawing on paper, 50 x 65 cm, 2023.
Hypothetical Picnic
Hypothetical Picnic I, watercolour, 30 x 40 cm, 2023.
Hypothetical Picnic
Hypothetical Picnic II, watercolour, 30 x 40 cm, 2023.
Hypothetical Picnic
Hypothetical Picnic III, watercolour, 30 x 40 cm, 2023.
Misreadings
Misreadings, Bergkvara konsthall, Sweden, 2023. A series of interpretations of textile patterns by Viola Gråsten.
Misreadings
Törnrosa (after Viola Gråsten), embroidery linen/cotton, 150 x 173 cm, 2022.
Misreadings
Grey # 11, 2017, pencildrawing on paper, 50 x 65 cm.
Misreadings
Grey # 12, 2017, pencildrawing on paper, 50 x 65 cm.
Misreadings
Grey # 25, 2021, pencildrawing on paper, 50 x 65 cm.
Det blæste, og hun kunne godt lide at høre, birkebladenes raslen. It was windy, and she liked to listen to the rattle of the birch leaves.
Når hun strakte ud efter brombæren sad skjorten fast i tornene som lavede en stor revne. As she reached for the blackberries, her shirt caught on the brambles, which tore a big hole.
Hun plukkede blomster og opdagede ikke brændnælden men kunne mærke da det brændte til. She was picking flowers and did not notice the stinging nettle, but she felt it when it stung.
Bottom: The Beauvais Lot 2022
Drengen løb væk fra de andre for at finde et gemmested. The boy ran away from the others to find a hiding place.
Ilden var gået ud, og han undrede sig over, hvor de andre var henne. The fire had burned out, and he wondered where the others were.
I et hjørne lå nogle gryder brugt til et måltid en gang. In a corner lay some pots that had once been used for a meal.
Careless Nature
Top: The Ellstorp Lot 2017
Hon stannade upp när hon upptäckte hur många fjärilar blommorna drog till sig. She paused when she discovered how many butterflies the flowers attracted.
En svärm små flugor följde efter henne så hon var tvungen att öka takten. A swarm of little flies followed her, so she had to increase her pace.
Några brända böcker fick honom till att spekulera över vad som hade hänt där. Some burnt books made him wonder what might have happened there.
Bottom: The Ellstorp Lot 2022
Framför henne stannade kaninen, för att sedan rusa iväg. The rabbit stopped in front of her, then raced away.
Träden var inpackade som reliker värda att bevaras. The trees were wrapped up like precious relics to be protected.
Hen hade gjort ett hål för att få tillgång till området. They had made a hole to gain access to the area.
Careless Nature
Careless Nature, The Ellstorp Lot 2022, photography mounted on print with text , 50 x 65 cm, 2023
Careless Nature
Careless Nature, The Beauvais Lot 2022, photography mounted on print with text , 50 x 65 cm, 2023
Careless Nature
Careless Nature, The Ellstorp Lot 2017, photography mounted on print with text , 50 x 65 cm, 2023
Daydream, Den Frie
Daydream, a series of photographs and drawings from the garden of Gilles Clément, La Vallée in Creuse, France, in Atmospheres, curated by Milena Bonifacini and Sophia Kalkau at Den Frie 2022.
Daydream
Daydream # 14 (La Vallée, Creuse), digital print on barytapaper, 50 x 75 cm, 2019.
Daydream
Daydream # 15 (La Vallée, Creuse), digital print on barytapaper, 50 x 75 cm, 2019.
Daydream
Grey # 23, 50 x 65 cm, pencildrawing on paper, 2020.
Daydream
Grey # 19, 50 x 65 cm, pencildrawing on paper, 2020.
Daydream
Grey # 22, 50 x 65 cm, pencildrawing on paper, 2020.
The Danish Pavillon in Griffenfeldsgade, LOKALE
The editors of Pist Protta, Åse Jørgensen, Jesper Fabricius and Jesper Rasmussen, made a proposal for an open call for the Danish Pavillon in Venice, where they suggested that the pavillon should be treated as an issue of the magazine. When that project wasn’t realized they choose to unfold the idea at LOKALE in Nørrebro, Copenhagen instead, with Gitte Broeng as guest editor. The exhibition was documented and these images became Pist Protta # 91.
Unfinished
Drawings from the ongoing series Unfinished, pencil on paper.
Unfinished
Texts from the collection Unfinished, about time, fiction and memory.
Tower to Tower
Tower to Tower, 7 pencil drawings on paper, installationview Den Frie 2020.
Tower to Tower
Unfinished # 19, 29 x 42 cm, 2018.
Tower to Tower
Unfinished # 20, 29 x 42 cm, 2018.
Tower to Tower
Unfinished # 22, 29 x 42 cm, 2018.
Grid – landscape pattern
Kivik Art Centre 5.5.2020
In Kivik Art Centre’s unique environment, visual artist Maria Finn and landscape architect Jacob Kamp established the work Grid in a wheat field, in the summer 2020. Grid had previously been established in Amorparken in central Copenhagen in 2019, where a grid pattern was transferred on the lawns. In the squares, the grass was allowed to grow high while the passages were cut so that visitors could move through the work and thus get a different experience of the park. The work Grid was reestablished at Kivik Art Centre, where the part of the wheat field that leads to Snöhetta’s sculpture Viewfinder was cut in the same geometric pattern. The corridors made it possible for the visitor to move through the field to reach to Viewfinder, which made the landscape accessible in a completely new way. By moving through the wheat field the visitor experienced it up close, and not from a distance, offering an intimate experience of fields we usually only pass by.
Grid – landscape pattern
Kivik Art Centre 21.6.2020
Grid – landscape pattern
Kivik Art Centre 21.6.2020
Grid – landscape pattern
Kivik Art Centre 21.6.2020
Careless Nature
Careless Nature, Møstings hus, Copenhagen, 2019.
Forgetful Nature
Careless Nature
The Ellstorp Lot, Malmö, colour photograph 20 x 30 cm mounted on mould-made paper, 50 x 65 cm, 2019.
Careless Nature
The Ellstorp Lot, Malmö, colour photograph 20 x 30 cm mounted on mould-made paper, 50 x 65 cm, 2019.
Careless Nature
The Beauvais Lot, Copenhagen, colour photograph 20 x 30 cm mounted on mould-made paper, 50 x 65 cm, 2019.
Careless Nature
Forget-me-not, sketch for walldrawing, watercolour, 30 x 40 cm, 2019.
Amorpark 17.5.2019 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
Amorpark 11.6.2019
Grid – patterns in grass
Amorpark 14.7.2019
Grid – Patterns in Grass
Amorpark 30.7.2019
Grid – patterns in grass
Grid, pencil drawing 29 x 42 cm, 2018.
Drawing Attention
From left: “Las babas del diablo”, HD video, 5:44 min., 2010., “Las babas del diablo I – III”, pencil drawings, 72 x 104 cm, 2009.
Everything Represents, Nothing is – Ingmar Bergman and the Arts
“Summer after Monika” in “Everything Represents. Nothing is” at Centre of Photography, Copenhagen, also at Gävle Konstcentrum 2018, and Silkeborg Bad 2019.
Free Children, Free Art
Free Children, Free Art, Den Frie – Centre for Contemporay Art, Copenhagen, 2018. Transforming Patterns, embroidery, cotton/linen, 171 x 149 cm, 2018.
30 Insignificant Minutes
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)
“Mirakel (after Josef Frank)”, pencil drawing on paper, 29 x 42 cm, 2017.
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 73 x 104 cm, 2009.
Las babas del diablo II
“Las babas del diablo II”, pencildrawing 73 x 104 cm, 2009.
Las babas del diablo III
“Las babas del diablo III”, pencildrawing 73 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.
About Losing
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) II”, 50 X 65 cm, pencil on paper shown under glass, 2014.
Honeysuckle (after William Morris) III
“Honeysuckle (after William Morris) III”, 50 X 65 cm, pencil on paper shown under glass, 2014.
Honeysuckle (after William Morris) IV
“Honeysuckle (after William Morris) IV, pencil on paper shown under glass, 50 x 65 cm, 2014.
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.
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.
“Gaps in the Landscape”, MDF-panel, 122 x 244 cm, 2010.
Images Between the Word and the Film
Installationview “Images Between the Word and the Film” at Overgaden June 2010. From left: “Sometimes the Desert is Red”, 2004 & 2009, “Parkscenario”, “Summer after Monika”, DVD, 5:32 min., 2007, “Las babas del diablo”, DVD, 5:44 min., 2010.
Sometimes the Desert is Red
Las babas del diablo
Behind the Face
A Technical Problem
Images Between the Word and the Film
“Parkscenario: Parc de la Villette, Parc André Citroën, Parc de Buttes Chaumont, Bois de Boulogne” 24 c-prints 15 x 22 cm,1999 – 2009.
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.
In Silent Conversation with Ingmar Bergman
Installationview “Summer after Monica act III”, walldrawing in “In Silent Conversation with Ingmar Bergman” at Kunstmuseum Thun, Thun.
In Silent Conversation with Ingmar Bergman
Installationview with “Summer after Monika”, DVD, 5:32 min., 2007, and drawings “Summer after Monika I – VII”, pencil on paper, 29 x 42 cm, in “In Silent Conversation with Ingmar Bergman” at Kunstmuseum Thun, Thun.
In Silent Conversation with Ingmar Bergman
Installationview with “Summer after Monika”, DVD, 5:32 min., 2007, in “In Silent Conversation with Ingmar Bergman” at Kunstmuseum Thun, Thun.
Summer after Monika
“Summer after Monika act II”, walldrawing at The Apartment, Athens.