Raum#334-Kemp

Lone Haugaard Madsen’s working processes are tightrope-walks. They range from the found to the created, between production and recycling, between intention and intuition.

A large part of the materials she uses for her acute artistic practice originates from a large Viennese theatre and decoration workshop. They include waste or discarded materials of, one might say, a “parallel universe with artistic intention”. Waste of befriended artists’ studios serve her as a source in a similar way. Some pieces are left as found, others are further worked on. With a cloth, Haugaard Madsen rubs whole tubes of black oil paint onto old canvases that bear once begun and later abandoned sketches. Smaller pieces of junk are compressed to clews or cast in bronze or aluminium.

During a stay at Nyhavns Glaspusteri, Copenhagen, a series of glass objects evolved. Haugaard Madsen determined colour, amount and form of the molten glass and asked the glassblower to drive the piece as far as and with as many breaths as he could during the course of a single process.

The selection of fragments is only rarely focused on the single object, but is rather made with regards to constellations or more specificially to spaces (rooms). On the one hand to composed rooms, as all of Haugaard Madsen’s installations bear the title “Room#”, on the other hand to the actual exhibition space in which the #-Rooms are ultimately arranged.

“Art” results with Lone Haugaard Madsen in the difference to the initial “artistic intention”. Her pathos (the pathos of “art” searching for truth) is fractionally noticeable in this difference. Acted out on mulptiple levels, a room of perspectives is created. In Haugaard Madsen’s rooms truth is not the measurement of art, but rather a perspective of art which can never be occupied.