Kjærgaard’s World of Feisty Women
국문 버전은 한화 ‘LIFEPLUS TRIBES’ 앱을 통해 읽어볼 수 있습니다
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May 11, 2024
By Summer Jimin Park
Mie Olise Kjærgaard: Gamechanger
Foundry Seoul
March 22 – May 11, 2024
Installation view of Mie Olise Kjærgaard: Gamechanger at Foundry Seoul, 2024
Photo: Kyung Roh
Image courtesy of Foundry Seoul
Photo: Kyung Roh
Image courtesy of Foundry Seoul
As far as she can remember, Mie Olise Kjærgaard (b. 1974) had always wanted to become a painter. Growing up on the secluded island of Mors, home to a mere population of 20,000, Kjærgaard lacked a mentor to guide her through the basics of drawing. Left to her own devices, she sketched wherever her imagination took her, with exciting, albeit vague, dreams of becoming an artist.
On the island of Mors, approximately 400 kilometers from Copenhagen, museums and galleries were a luxury unavailable; it wasn’t until the artist was 16 that she made her first visit to an art museum. Instead, she spent most of her childhood romping amidst the rolling hills and admiring the tranquil waters surrounding the island.
“Mors was a place where everyone could be fully themselves, free from social prejudices and expected gender roles,” reminisces the artist about her childhood on the island. “I had the liberty to truly be myself, and this has been important to who I am as an artist.” Perhaps it was for this reason that she was able to create ambitious paintings on huge canvases by the age of 15. Sometimes, the unwavering confidence stemming from the conviction that nothing can stop you—the freedom coming from such blissful ignorance—proves more powerful than any formal education.
Installation view of Mie Olise Kjærgaard: Gamechanger at Foundry Seoul, 2024
Photo: Kyung Roh
Image courtesy of Foundry Seoul
Photo: Kyung Roh
Image courtesy of Foundry Seoul
Kjærgaard's feisty women
Now on view at Foundry Seoul, Mie Olise Kjærgaard's first solo exhibition in Asia, Gamechanger, presents 18 new paintings featuring vibrant brushwork and dynamic compositions. Kjærgaard’s women boldly leap over fences in stadiums, perform triathlon-like activities on sandy beaches, and lift heavy weights. Sometimes they gallop atop unidentified beasts, evoking images of ancient murals found across cultures.
Courtesy of the artist and Foundry Seoul
Transcending nationality, race, or culture, Kjærgaard's figures come together as one team—they sport matching attire, their hair soaring in uniform colors and styles, distinguished only by subtle variations in their expressions and facial features. These lookalikes enthusiastically engage in physical activities with one another, passing balls over nets, lifting weights, and precariously balancing on structures. Perhaps this is as close as it gets to the artist’s utopia, where women team up in solidarity.
At the same time, these figures are a reminder for Kjærgaard of the fact that while this utopia may be a reality for the fortunate few, for others, it remains an unimaginable dream. “I feel incredibly privileged to live in a society where women can enjoy freedom and play around,” she says, looking at these brave women who look just like herself. “There are still numerous places in the world where women lack such liberties.” In their boldly stretched arms and legs, breaking free from socially imposed roles, lies the artist's hope that these women can—and must—represent anyone and everyone in the world.
Courtesy of the artist and Foundry Seoul
Women teetering on tightropes
Kjærgaard’s paintings depict gripping scenes where figures look like they may collapse at any moment. One figure performs a daring acrobatic feat, balancing precariously with one hand on a tennis net, while a group of women stand in a single file on a raft, teetering on the edge.
Having studied at the Aarhus School of Architecture in Denmark during her undergraduate years, Kjærgaard has always been interested in the idea of balance, a fundamental element in architecture. In particular, she likes to capture the precarious balance of unstable structures rather than portraying stability. Each figure teeters on the edge of losing their balance, yet they confidently seize control of the situation, embracing it with excitement and perhaps even a hint of mischief.
Tennis Trouble Makers, 2023, Acrylic on canvas, 225 x 585 cm
Courtesy of the artist and Foundry Seoul
Courtesy of the artist and Foundry Seoul
The title of the show, Gamechanger, refers to an event or factor that significantly changes an existing situation. What is this “game” of life that the artist is talking about, and what specific changes does she wish to make? I had the opportunity to discuss these questions with the artist on the occasion of the exhibition’s opening.
Installation view of Mie Olise Kjærgaard: Gamechanger at Foundry Seoul, 2024
Photo: Kyung Roh
Image courtesy of Foundry Seoul
Photo: Kyung Roh
Image courtesy of Foundry Seoul
Interview With Artist Mie Olise Kjærgaard
© Mie Olise Kjærgaard
Summer (hereafter S): You were born and raised on the small island of Mors, with a population of around 20,000. How has your upbringing in Mors influenced your work?
Mie Olise Kjærgaard (hereafter MOK): My upbringing has played a very important role in shaping who I am as both a person and an artist. Currently, exploring themes of gender roles and societal constructs is a big part of both my paintings and my way of life, but there were no such systematic gender roles in Mors; in such a small community, individual personalities tend to stand out instead. It was a place where everyone could be fully themselves, free from social stereotypes telling how men or women should behave. The energy and freedom I experienced in my childhood, along with the memories of embracing my authentic self, are reflected in my work today.
Courtesy of the artist and Foundry Seoul
S: How has your educational background in architecture informed your practice?
MOK: I'm very interested in the element of balance—a central theme in architecture—and especially in capturing the precarious balance of unstable structures rather than portraying stability.
Photo: Kyung Roh
Image courtesy of Foundry Seoul
S: In your studio visit video with Artland, you mentioned that you like installing work site-specifically, often taking into consideration the architectural nuances of each exhibition space. Were there any specific decisions you made for this exhibition in that regard?
MOK: I wanted to take advantage of the gallery’s tall wall that extends from the lower to the upper floor. I had never done a triptych before, but of course I was ready to take on the challenge with such a big, amazing wall here.
Initially, I had a lot of trouble figuring out how best to utilize this space. I was concerned that having such massive work on one wall might overwhelm the opposite wall. At one point, I even thought about putting an LED light piece on the opposite wall in order to get some action.
As an artist, I have no fear of breaking rules and exploring different approaches. However, for this exhibition, I opted for a more traditional approach; I centered a large painting and hung smaller paintings higher up on either wall to create a dynamic in the space. Given the inherent dynamism of the women depicted in the paintings, a minimalist and straightforward approach to display seemed more fitting.
Courtesy of the artist and Foundry Seoul
S: Speaking of having “no fear of breaking the rules,” I wonder if you ever see the bold and fearless female figures in your work as a reflection of you as an artist. In a previous interview, you mentioned that you like to “dive into” the canvas without much hesitation. How does this fearlessness extend beyond the canvas and relate to your way of life?
MOK: To me, my studio feels like a kingdom run by its own set of laws and rules. I feel extremely free in the studio and enjoy playing with a lot of “what if” scenarios: “What if this person did this here?” It’s a process that helps me continuously challenge my perspective. Of course, sometimes things don't turn out the way I want them to, but one bad painting doesn’t mean the end of the world. In that sense, I’ve never had a painting crisis in my life.
That being said, I've had years of intense experimentation, roughly from 2015 to 2019, where I hardly sold any work. During this time, I experimented with new ideas, moving away from my usual motifs of houses and ships. Eventually, I found a style that I liked and was able to finish a lot of work in a very short time. I finally felt like I was ready and started producing a lot of works, some of which I will be showing at the Trapholt Museum in Denmark next January.
Installation view of Mie Olise Kjærgaard: Gamechanger at Foundry Seoul, 2024
Photo: Kyung Roh
Image courtesy of Foundry Seoul
Photo: Kyung Roh
Image courtesy of Foundry Seoul
S: It's surprising to learn that there was a time when you weren’t selling any works, especially since they’re in such huge demand right now. Was it around this period that you started painting these female figures?
MOK: I started painting these figures between 2019 and 2020. While I had drawn female figures before, during this period I started experimenting with different forms, making a conscious effort to unlearn elements typically associated with beauty, like symmetry.
Courtesy of the artist and Foundry Seoul
S: The figures depicted in your work are largely anonymous, allowing them to transcend borders and generations, despite drawing inspiration from your personal experiences. Can you elaborate on this choice?
MOK: I like that my figures leave a lot of room for interpretation. I've heard so many different interpretations of who these women might be: some see them as self-portraits or as members of a team. Some view it as a scene illustrating the movement of a single person. I love the range of perspectives and discourse my figures continue to generate.
While my figures all depict active, strong women, I also like to add fun details like armpit hair, protruding bellies, and hair flying straight up in the air. Rather than starting with a fixed image, I begin with a rough sketch and allow the painting to guide me through what it needs. I believe that the role of an artist is different from that of a mathematician or scientist, who must come to a definitive conclusion. An artist is someone who is always open to possibilities, even if that means taking a long way around, backtracking, or getting lost along the way.
Installation view of Mie Olise Kjærgaard: Gamechanger at Foundry Seoul, 2024
Photo: Kyung Roh
Image courtesy of Foundry Seoul
Photo: Kyung Roh
Image courtesy of Foundry Seoul
S: Your work is inspired by your childhood memories that evoke a sensation of mastering your own body. How do you try to stay in touch with such memories and keep them intact as you age?
MOK: Many of us probably remember the thrill of learning and mastering a new sport or activity as children—the sense of liberation in riding a bicycle without hands, for instance. However, as we grow up, we become conscious of what others think of us and try to fit ourselves into what society wants us to be. This is especially true for women, who are often sexually objectified and judged by others.
I paint to reconnect with my childhood memories of feeling like a hero capable of anything. Even as an adult, I still find moments of such liberation—whether it’s the rush of speeding down a hill on my bike or the satisfying sound of striking a tennis ball just right. Painting these dynamic figures in my work is an attempt to keep these memories alive and constantly remind myself of them.
Courtesy of the artist and Foundry Seoul
S: Lastly, the exhibition is titled Gamechanger. Which game of life are we talking about, and what specific changes do you wish to make?
MOK: The works in the exhibition feature motifs from various sports games, such as tennis courts, hurdles, and beach volleyballs. Recently, I was looking up the history of when and how women started wearing pants, and I discovered that many began doing so for horseback riding and cycling. As I imagined these women finally being able to move freely without male chaperones, the idea of sports as a means to break free from traditional constraints and roles became quite appealing.
Of course, the “games” in Gamechanger aren’t necessarily limited to sports alone. It may extend to broader societal contexts and the world we live in. I hope that this exhibition will inspire us to think about how we can challenge and reimagine the existing rules of games and society. That being said, for this particular show, I wanted to take a lighter approach by framing it within the context of a sports arena, with just the right amount of humor and fun. I believe this is a good way to start a conversation with people that have different opinions. After all, nothing will change if you don't start a dialogue with people who disagree with you.
Mie Olise Kjærgaard: Gamechanger
Foundry Seoul
March 22 – May 11, 2024
Gamechanger runs through May 11, 2024 at Foundry Seoul.