\Peter BondeIt's Good Enough for Nansy08.06. - 03.08.2024

Bonde continues to experiment and create works that oscillate between painting, sculpture, and installation. He employs a unique technique, using ultra-reflective mirror foil instead of blank canvases, which underscores his belief that no artistic creation emerges from nothing. Instead, he builds upon existing traditions and incorporates additional elements as his process develops. For instance, he paints over the reflective surface with oil, using fierce brushstrokes that seem to explode from within, creating a dynamic interplay of light and color. Bonde‘s compositions, though abstract, vividly evoke the strokes and color palettes of Nordic and other European artists. For instance, Per Kirkeby’s richly textured canvases and depiction of nature translates into Bonde’s abstract landscapes. Similarly, Edvard Munch’s „Self Portrait with the Spanish Flu” influenced Bonde’s compositions, inspiring his use of colors and brushwork. Such references, often subtle and sometimes more explicit, result in a compelling bridging of art historical traditions with a contemporary twist.

Each of Bonde’s creations are as riveting as they are unique. No work can ever be viewed or photographed in the same way twice. The artist intentionally avoids concealing the whole mirror-like canvas, leaving parts of the reflective surface uncovered. By doing this, Bonde invites viewers to become part of the artwork, encouraging them to reflect—literally and metaphorically—on their surroundings and turning them into active participants in the creation of meaning. Bonde also incorporates what Anna Krogh and Mathilde Helnæs call “rediscovered visual baggage,” a term that encapsulates his method of layering archival and personal references within his art.1 This baggage consists of the aforementioned artistic references and the pictures of a younger self, landscape and urban images, book covers, and Instagram content which Bonde has accumulated through his lifetime. He superimposes these materials over the mirrored surfaces to create visual narratives of his personal life, covering some pieces with paint so that only fragments are revealed. Thus, his works raise questions about erasure, memorialization, and oblivion: what do we remember? What do we forget? What constitutes a memory or an image? Which images prevail above others?

Peter Bonde graduated from the Royal Danish Academy of Art in 1982 (Copenhagen, Denmark). He taught at said institution (1996-2005) and at the Fuenen Art Academy (Odense, Denmark, 1994-1996). He represented Denmark along Jason Rhoades at the Venice Biennale in 1999. In 2019, he showcased his works at the 58th Venice Biennale in Danh Vo’s installation. Bonde has exhibited at the Sorø Kunstmuseum (Sorø, Denmark, 2021), Martin Asbæk Gallery (Copenhagen, Denmark, 2020), David Pestorius Projects (Brisbane, Australia, 2011). His works are part of major private and public collections in Denmark and elsewhere such as the Danish National Gallery, ARoS, Trapholt Museum for Moderne Kunst, Esbjerg Art Museum, Elgiz Collection in Turkey, Kunstmuseum Wolfsburg and Axa Northern Stern in Germany. Bonde lives and works in Copenhagen, Denmark.

Text: Susana Turbay Botero