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Year: 2012
Edition: Multiple
Technique: Photographic C Prints, printed on Canson Platinè fiber Rag 310g
Framed: No
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This work comes from the series Colour Kinesthesia. It derives from projections of colours over time, into corners and structures, where the blending of one colour into another, causes chromatic compositions in an impregnated space.
New York and Oslo-based Norwegian photographer Anne Katrine Senstad’s work concentrates on sensorial responses to light, color, and form, transcendental philosophies, and social-political environmental initiatives.
Anne Katrine Senstad was educated at the University of California at Berkeley, earning a BFA in Photography at Parsons School of Design and concentrating on film at the New School for Social Research in New York, which prepared her for a multi-disciplinary practice: installation, video, photography, neon sculpture, and site-specific work.
Senstad produces photographic C-prints from scanned color film negatives.
Her most recent (2020) solo exhibition at Freight + Volume in New York, Color Kinesthesia 6A42.2, in collaboration with diverse materiality, is in dialogue with Rothko’s color field paintings....
Color Kinesthesia implies the body’s response to color transitions, made possible through photographing color film negatives. As a photographer, Senstad captures a moment of light and color from an interactive installation, weaving together a cohesive multidisciplinary practice.
In contrast, the geometric phenomena of ubiquitous triangular orientation versus changing color combinations in Concrete Planes (2019-2020) speaks more of scientific and philosophical investigation rather than a transcendental experience like in the Cosmosis Collages series.
This series was created to complement Senstad’s neon light installation Elements and represents oneness with the cosmic universe as a path of enlightenment. The Suprematist and Constructivist movements inspired her, while the use of modern technology and materiality produced new visual forms.
Senstad’s process begins with research on perception and the cognitive response to light, sound, and color. Her clever use of neon commercial materials expresses poetic humor and articulates a literal and critical intent.
With Forget Flavin, a white neon sculpture referencing Dan Flavin, shown at Freight + Volume, Senstad straightforwardly marks her own territory in a male-dominated light art genre....
In Through The Spectrum at Athr Gallery, Jeddah, a light art exhibition in the Middle East, Senstad presents alongside James Turrell. Although she explains her work as a perceptive cognitive response to light, sound, and color, rather than Turrell’s spiritual source, it’s difficult not to compare.
What Senstad and Turrell share is an invitation to the transcendental experience.
Senstad’s installations are immersive and interactive, evoking a psychological response to light, sound, and color, rather than an interpretation of the sublime.
She seeks to represent her sensorial experimentation and investigation as unique compared to her male contemporaries.
Senstad has exhibited extensively in solo and group shows throughout the United States, Norway, and worldwide.
Kristin Hjellegjerde, London
Pink Gallery, Seoul
SL Gallery, New York City
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