Tendency to gang Up, 2016 

Eli Benveniste, 2019

For a long time I have made sculptures according to drawings, they are not only sketches but actual recipes. I read the drawing contour three-dimensionally. The outline of a sculpture from a certain angle. At the same time, there are many possibilities within the framework of a line drawing and the sculptures I show here are variations over the same contour drawing.

When I drew the drawing, my idea was that the front of the body could be read as a back, as if the body had turned, while the "legs" were still coming out from the hips.

I sought a certain spatiality and wanted to express the essence of a movement.

As for the modeling, I thought, how little is needed? Where does the boundary between unrecognizability go to where I have, in fact, gone too far, when the desire to make my idea visible instead gets the first freshness that naturally arises during the construction of a sculpture killed. That's why I released them as soon as possible, when they were just as readable, caught in the moment.

The five sculptures have now been raw-burned in my workshop for two years, without being finished. They were from that time the Colorists no longer had to exhibit on the Free. Now the Colorists are back on and I continue where I left off, and have made two more variations. Those who lacked to complete the series of "Tendency to gang Up".

A Matter of Empathy, 2015

Manifesto 1. The creative, the conservative and the destructive man

Manifesto 2. The Missing Link

Manifesto 3. We do it because we can - A timeline

Manifesto 4. The common man's paranoia

Manifesto 5. If Only

"A Question of Empathy" A video screenplay from the Round Tower 2011,

Filmed and cut by Eli Benveniste, duration 9 mm

Ornamental Tales, 2014

For a ceramic exhibition, at Galleri R2 in Bornholm in 2014, I made a number of plates. I call them "Ornamental tales" because it is the ornament, in relation to the shape I have been working with. The more than 3000 year old Minoan art from Crete has always fascinated me and there are some jars from here, with painted red octopusses, where the ornament is so perfectly adapted to the shape of the jar and at the same time depicts a very lifelike octopus that has sent me in this direction. 

But I did not paint the surface, but instead scratched figures into the clay and glazed the line. It has been fun and interesting to go to another world and get to know the pottery technique and problems better.

All the things unsaid, 2012-13

performance in clay, 2010