Invited by Olivia Coeln

Two life-size cabbage heads are fixed more or less directly in front of my head, sided by a row of three grayscale paintings of holes in walls. I recognize the move of fixing floral paper objects on the wall from Julija’s exhibition at Alienze earlier this year, when petals of flowers resembling roses carried images of cityscapes. Both cabbages and paintings refrain from representing anything but exactly what they depict, asking to be considered in that way: in and of themselves.

[…]

If I understand the hole-paintings as mirrors, they might be telling me something about the puncturing ability of my gaze: That by looking, I can break through things? I can see my way behind surfaces, I can reveal something hitherto hidden. In turn, that means something anxiety-provoking about being looked at by others. Oh no! The View is a hyper image of this drama. There’s conflict between being watched and feeling seen. There’s ambivalence about showing. There’s getting up and doing it – again.

— Cecilie Nørgaard