TONALItY

EXHIBITED IN TABLEAU, JANUARY 2023.

’TONALITY’ BY BIRGITTE DUE MADSEN CONSISTS OF THREE DIFFERENT PROJECTS DESCRIBING THE DIVERSITY AND TRANSITIONS IN COLORS, MATERIALS, AND TECHNIQUES, WHICH ARE ALL IN RELATION TO – AND HARMONIZE WITH – DUE MADSENS BASIC IDEA THAT EVERYTHING IN HER PRODUCTION IS RELATED TO EACH OTHER AND IS CONNECTED VIA A STRONG AESTHETIC AND A DESIGN BASED ON THE PREMISES OF THE MATERIAL.DUE MADSENS WORK IS OFTEN CENTERED AROUND LIGHT AS A FUNCTION. REGARDLESS IF THE PROJECT IS DEVELOPED AS FUNCTIONAL DESIGN IN COLLABORATION WITH DISTINCT MANUFACTURERS, EXPERIMENTAL PROTOTYPES, OR SCULPTURAL UNIQUE PIECES HER LOVE WITH LIGHT IS THE FOCAL POINT, THUS, SHE OFTEN USES MATERIALS UNDERLINING THIS VALUE.

BOTH GYPSUM AND RESIN ARE EXCEPTIONAL MATERIALS TO ABSORB THE LIGHT, HIGHLIGHTING CURVES AND DEPICTING REFLECTIONS IN THE SURFACE. THESE MATERIALS SURPRISE AND ATTRACT WITH SOFT SURFACES AND DEEP REFLECTIONS OF LIGHT AND SHADOW. IF YOU TOUCH THE OBJECTS, YOU WILL GET A MORE SENSIBLE AND SOPHISTICATED UNDERSTANDING OF THE CRAFTSMANSHIP BEHIND AS WELL AS THE BEAUTY OF THE SURFACE. HIGH QUALITY IS A CENTRAL VALUE TO BEAUTY AND SKILLED WORKS. IN THE INTERACTION WITH THE BEHOLDER DUE MADSEN MASTERS MATERIALS TO A LEVEL THAT INVITES TO A FOLLOWING TOUCH.

THE PROJECT BY DUE MADSEN CONSISTS OF:
• A SOLID OAK FURNITURE GROUP WITH UPHOLSTERED TOPS IN A VARIATION OF COLORS. THE SERIES CONTAINS A BENCH, TWO STOOLS AND TWO CHAIRS MADE OF SOLID OAK PLANKS, WHERE EACH TYPE OF FURNITURE IS CONNECTED TO A SELECTED COLOR FROM THE HARALD 3-QUALITY BY RAF SIMONS FOR KVADRAT, ALL MADE IN COLLABORATION WITH THE CABINETMAKERS OF RAMMELISTEN.

• AN EXCLUSIVE SERIES OF MINIMALIST GYPSUM BLOCKS WITH TWO DIFFERENTLY COLORED FREE-FLOATING, ROUND GEOMETRIES WITH NEON AND ARGON GAS IN MOUTH-BLOWN GLASS TUBES. THESE ARE INSERTED IN THE CENTER OF A PUNCHED-OUT CAVITY LIGHTENING THE ROOM IN COLORS OF PISTACHIO GREEN, LIGHT VIOLET, POWDER PINK, PURE NEON RED, WHITE, ARGON BLUE AND GRASS GREEN.

• 65 LARGE, DRAPED TAPESTRIES IN BLUEPRINT, ALSO CALLED CYANOTYPE, BASED ON A SERIES OF PHOTOGRAPHS CHARACTERISTIC OF HER PRODUCTION, TRANSLATED INTO THE BLUEPRINT. FOR THIS SHE USED VARIOUS TEXTILES OF LINEN, VELOUR, CANVAS, COTTON AND ANTIQUE LINEN FOUND IN FOREIGN MARKETS GIVING THE BLUEPRINTS DIFFERENT CHARACTERS IN INTENSITY AND DEPTH.