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Brian Ulbrichsen presents

Marie Louise Kold



KOLD FUSION An exhibition of art by Marie Louise Kold in a space designed by Brian Ulbrichsen

Opens on Friday August 5, 2016, 4-7pm. Opening hours: Saturday and Sunday August 6-7: 12-4pm, Friday August 19: 2-6pm, Saturday and Sunday August 20-21: 12-4pm.  

Pavillon no. 11, Kronprinsessegade 11, Copenhagen, Denmark


Kold Fusion is an exhibition with works by Marie Louise Kold. The exhibition has been designed by Brian Ulbrichsen. In the exhibition, the works are shown in a mystical universe, with raw smells and textures. The works are contrasted against the soft walls and the scent makes the viewer wonder if it’s coming from the works.




Brian Ulbrichsen Brian Ulbrichsen works with creating spatial Interpretations and stagings where tactile and sensory perception are key elements in his works. In his works, he appeals to the guest and provides the framework to ease the presence and explore the present. Brian has a BA in Spatial and Furniture Design, and an MA in Spatial Design, both from the Royal Danish Academy of Fine Arts, School of Design, in Copenhagen. His internships include SJB Interiors in Sydney, Australia, in 2014 and Johannes Torpe Studio in Copenhagen, Denmark, in 2012-13. In 2012 Brian exhibited at the Stockholm Furniture Fair and in 2011 at Code 11. Brian Ulbrichsen is based in Copenhagen, Denmark.


Marie Louise Kold Marie Louise Kold has created her special metal art for nearly two decades, and with it, has made a name for herself both in her native Scandinavia and internationally. Marie Louise works with copper, bronze and brass, and imbues the metals with an emotional charge that turns them into art. Her techniques have their roots in the tradition of copper printing, but although the metals are engraved and etched, they are not used to print with – it is the metal itself that becomes the actual art object. The cuprous metals are brought to life by patination with chemicals and the art that results not only changes depending on angle and light, but also because of touch and time. Her art is in constant, but very slow change. 9


Art in Art

Marie Louise Kold’s metal art in the context of Brian Ulbrichsen’s spatial design A short essay of personal. perception about Kold Fusion . by Gorg Mallia “How is it that spatial design of cities and neighbourhoods leads to the generation of cultural and community identity? Under what conditions do vital and thriving creative communities occur?” (Alan Penn, p. xix)1

Consider for a moment the contextualisation of art. Think of the Mona Lisa in Napoleon’s bedroom at the Tuileries Palace, for example, as opposed to the hall in the Louvre in which the painting is visited by hundreds of thousands every year, and the associative image that comes to mind when one thinks of it. Think, on a totally different level, of Edvard Eriksen’s Lille Havfrue deprived of its rock and place by the waterside at the Langelinie promenade in Copenhagen. Contextualisation of art creates an associative backdrop that complements and enhances (and at times diminishes) the works presented.  Contexts are mutable, of course, and decontextualisation is perfectly acceptable for movable art, but when art is created for a space, and the space is designed around the atmospheric evocation of that art, then the harmony adds value and often creates a totally unique oeuvre in the sum total that goes beyond the individual worth of each of the two. p.14 u 1

Penn, A. (2011) Architecture and the Social. In N. Setola (ed.), Research tools for Design: Spatial layout and patterns of users’ beahviour. Florence, IT: Firenze Unitersity Press. 11


Fusion 4 Etched and patinated copper 50x50 cm 13

Space itself can be occupied inextricably by art. One does not move architectural masterpieces, primarily because they cannot, without incredible difficulty, be physically moved, but also because their creation was intended specifically for the space that contains them. This goes for all country landmarks. It goes for artistic architecture that takes on board the colours, textures, patterns, sounds, light and feeling of their spatial contexts. But it also goes for how the internal spaces of those buildings are designed. And when a space there is then crafted to contain artistic creation, the value continues to increase... the sum total of all the minds, feelings, skills and intuitions in play elevate elements to a cohesive totality that cannot but impact. Danish artist Marie Louise Kold works with metal to create art. That is what her bio says, but what the bio does not say is that she does a lot more than that. She interacts with the very composition of the metal, transcending the mundane functionality of the material, delving into what can turn it into an aesthetic experience for the viewer, and then, beyond that, enhancing it with what years of acquired skill and artistic intuition can add to any created visual scape. What she does is apply chemistry to bronze, brass and copper with the aim of bringing out of them the essential beauty and emotion that lies beneath the surface. The result is a kaleidoscope of colours that abstract into an aesthetic that pleases the eye and intoxicates the senses. An amazing array of deep reds and greens and the starkest blues anybody’s likely to see, making the surfaces pop in ways that imprint themselves on feelings and memory. There are also the darker colours... the browns and blacks and the luxuriant olive greens, that tap deep into the soul with a lush effusion that contrasts with the brightness of the other hues. But both sides are one. The complexity of this art touches thoughts, feelings and all the other senses. It’s in its nature to do so. She also creates patterns through the pleating of copper foil... a deliberate crumpling, if you like, that pushes what is essentially a two-dimensional medium well into the third dimension, building miniature mountains and valleys in what become, coupled with the amazing colours brought out by her chemical pallette, landscapes p.19 14




Fusion 7 Etched and patinated bronze 25x25 cm 17


that interact with contrastive elements in compositions that often seek diversity of plane, material and hues. It is, however, through her etching at various depths that a sort of inverse threedimensionality emerges – the creation of a concave depth that is populated by hollowed out hand lettering, scratched and then etched deeply; lines that snake and flow; deep rivulets and lakes of negative space interlaced by the solid masses of metal that frame them, in one sense, decoratively... but much more overwhelming and overpowering, emotionally. It is essentially a very physical art, not just because of its base element, metal, but also because of the way it hits at deep, inscrutable emotions and at the same time communicates pleasure to the eye; because of its tactility; and, yes... I suppose... because it’s made of metal. This means that it can interact particularly well with other, also physical contexts and Brian Ulbrichsen knows this. He is an expert spatial designer... a man who takes spaces and turns them into contexts that, on the one hand stand alone in artistry, and on the other ensconce other elements, complementing them... and, in a sense, completing them. In Kold Fusion, I see him countering the essential perception of heaviness created by the metal (though in some cases the artist has transformed it into what looks like lace) by going for fabric. The soft creating a bed for the hard. He has used dark fabric to continue to emphasise the contrast, dressing up a small, square room in a way that encapsulates it, creating an artistic cocoon that is hermetic in the one sense... helping the visitor become totally immersed in the space... but also softens the angles of the room, perversely pushing a sense of almost infinity through the controlled seamlessness of the cladding. The subtle lighting continues this atmosphere of (what I can only call) ‘enclosed infinity’. In fact, all the senses are engaged. There is also the olfactory dimension. The visitor is tantalised by a scent that is “dark” and “dense” and which permeates the space with a metalic smell that continues to fuse the context with the works of art the structure is intended to house. p.22 u 19


Fusion 2 Etched and patinated copper 26x26 cm 21

Because while all of this is happening, the space is also intended as a welcoming context for Marie Louise Kold’s art. The way the artist and the spatial designer have hung the seven metal works, creating a slight distance to the walls, capitalises on both the textured darkness of the backdrop, enhanced as it is by designed folds that subtly pattern the entire ‘cocoon’, and the lighting that casts faded shadows, adding yet another dimension to the whole creation. The final work, a cube that “floats” above the heads of visitors, underscores the sense of almost timeless perpetuity, so emphasised by the surroundings. There is a seamlessness that transforms the “art in art” into simply “art” – a linking of two creative minds, each applying skills and talents that enhance those of the other. The metal creations are integrated within the context that holds them like an embrace... warm and welcoming. There can be no doubt that the artistic marriage of Marie Louise Kold and Brian Ulbrichsen succeeds in adding value to each of their creations, turning a space for art into an artistic space.

. . Gorg Mallia Ph.D, is the head of department of Media and Communications at the University of Malta and has guest lectured at Malmö and Lund Universities in Sweden. Dr Mallia’s areas of expertise include: graphic design, illustration, graphic narrative and storytelling, print and presentation media, personal branding, social networks in education, and instructional technology. He is also a published cartoonist, illustrator and author and a former chairman of the Maltese National Book Council.




Fusion 6 Etched and patinated brass 26x26 cm 25


Fusion 3 Etched and patinated brass 26x26 cm 27




Fusion 5 Etched and patinated copper 25x25 cm 31




Fusion 1 Etched and patinated copper 25x25 cm 35




Fusion 8 Patinated copper 25x25x25 cm 39





Setting up the art 44


Catalogue © Marie Louise Kold (2016) Respective works © Marie Louise Kold (2016) © Brian Ulbrichsen (2016) Catalogue design . . Gorg Mallia



Profile for Gorg Mallia

Kold fusion catalogue  

Marie Louise Kold (metal artist) & Brian Ulbrichsen (spatial designer) join forces to create the exhibition KOLD FUSION in Copenhagen, Denma...

Kold fusion catalogue  

Marie Louise Kold (metal artist) & Brian Ulbrichsen (spatial designer) join forces to create the exhibition KOLD FUSION in Copenhagen, Denma...