Afterimages

Drawing inspiration from the paintings and frescoes of the Italian masters, Jonas Kolecki creates large-scale collages from imagery found in newspapers and online media. Transferred onto wooden panels and canvases, these images take on the appearance of weathered frescoes, evoking the gradual erosion of images and the passage of time. His works suggest that everything around us is subject to decay, leaving behind fragments for future generations to encounter and reinterpret. This archaeology of the present extends into Kolecki’s video work Cleaning the Pool (2016). His practice often begins with walking and wandering, allowing overlooked places, objects, and chance encounters to come into view and reveal themselves.

Traces of the past also resonate throughout Amanda Seibæk’s practice, which explores forms of communication that precede and exceed human language. Long before the emergence of human language, the world was already alive with communication: vibrations, frequencies, flashes of light and collective movements. Seibæk reflects on how many of these forms of communication are now under threat or disappearing. Fireflies, for instance, face growing pressures from habitat destruction, artificial light, noise pollution, and toxic chemicals. Rather than depicting animals directly, Seibæk explores how painting might register the vibration of life itself. Her works evoke presence through movement, frequency, and accumulated marks, giving form to modes of life and communication that resist direct representation.

Oscar Eriksson Furunes draws on imagery from queer archives, including the archive of LGBT+ Denmark, and particularly the photographic archive of Axel Axgil, a co-founder of the organization and a prominent queer activist. Through installations that rework historical materials, Furunes incorporates personal references, gestures, and codes, approaching the archive through a queer perspective. Alongside works based on archival imagery, a new series presents a fragmented portrait of Daniel, a close friend of the artist who works as a dancer and choreographer. Moving between intimate portraiture and historical documentation, the works explore the intersections of personal and collective histories, and the ways in which individual lives are situated within broader public narratives.

Across Afterimages, images, gestures, and traces emerge, shift, and fade. Whether working with found imagery, the fleeting signals of the natural world, or the fragments of queer histories, the artists attend to what remains, what is overlooked, and what might otherwise be lost. The exhibition considers how meaning is carried across time, not as a fixed record, but as something continually transformed through acts of looking, remembering, and reinterpretation.