Søren Solkær is a Danish photographer best known for his portraits of musicians. He is most recognised as the man responsible for various iconic images of Amy Winehouse, Björk, The White Stripes, Franz Ferdinand, David Lynch, Arctic Monkeys, R.E.M. and U2.

Concurrent to his work with musicians, Solkær furthered his specialisation in portraits by undertaking an eight-year project. Photographers Posed comprised 45 photographers from 15 countries, including Arnold Newman, Duane Michals, Pierre et Gilles, Anton Corbijn, Jan Saudek and Jeanloup Sieff. The collection featured Solkær’s portrayals of the style associated with each of his subjects and was exhibited in galleries in Chicago, Copenhagen, Cologne, Prague and Odense.

Solkær was contributing photographer for Q Magazine, Rolling Stone and GQ. He has also moved into the world of cinema, photographing James Franco, Danny Boyle, Tim Burton, David Lynch and John Waters.

Solkær has released three photography books. Solkær’s works are also featured as part of the permanent collection in the Royal Danish Library and The National Portrait Collection in Frederiksborg Castle, Denmark.



Read more

Solkær’s photography is characterised by finding a tension point between intimacy and edginess. His portraits are often regarded as cinematic in tone with a distinctive colour palette. He cites the inspirations for his style as ranging from filmmakers David Lynch and Wong Kar-Wai through to the works of photographer Philip-Lorca diCorcia and painter Caspar David Friedrich.





Whether turning his eye to iconic structures and landscape sceneries or to the female body, Jacob Gils creates fragmented, draped and deconstructed visual puzzles, with a strong attention to both aesthetic expression and technical detail.

The project Movement gives visible shape to the relationship between the concrete physical movement, taking place in the production phase and the established environment chosen as content. Through the use of multiple exposures Gils generates engaging interpretations of iconic structures and landscape sceneries.

At first glance these multi-point images appear out of focus or shaken, but in fact they consist of many different very sharp photographs of the same motifs, which are carefully combined to offer an illusion of being on the go – in movement. The technique invites the onlooker to come closer and discover the details, which do not fully reveal themselves from a distance. The hazy, translucent shapes created by the technique make for a photographic style that resembles impressionistic painting while still retaining all the detail of modern photography.

Transfer is a further development of the sophisticated multi-exposures of the Movement series, which is already known for its spacious and picturesque qualities. In this new extension of the series, the works undergo another transformation. As polaroids they are further transferred onto watercolour paper.

Read more

Through this technique a particularly atmospheric and dreamy mood arises, which lends a certain abstract expressionistic layer to the images. Upon closer inspection, however, the eye begins to decode that in these works there are real places depicted, all with their special characteristics. In this way, the viewer is left in a state of both presence and the chance to disappear deep into the works. Transfer opens up the idea of landscape photography as a form of portal to a deeper emotional scenery.

In the series Limit To Your LoveGils presents images that offer a subtle contrasting vision of the depiction of the iconic and timeless subject matter of the beautiful female. The distinct visual quality and aesthetics of the images result from a unique artistic technique, which involves the transfer of multiple Polaroid images onto watercolour paper. The paper’s textured surface makes it difficult to completely control the process thus adding an element of chance to the final image. The random distortions seen as white areas on the surfaces ensure that the field of one image is never identical to that of its neighbour.

The tactile, disrupted surface of the works creates a distance to the motif, shifting focus from the specific woman depicted to the woman as multifaceted idea, making these works come across as emotive statements with natural imperfections.

Jacob Gils lives and works in Denmark. He graduated from The Copenhagen School of Photography in 1990 and his art has gained recognition in the form of prizes at the PRIX DE LA PHOTOGRAPHIE PARIS (PX3) in 2012 and 2015. He has exhibited in solo and group shows across the globe and his works are represented in the Danish Royal Collection, Nanjing Art Museum, China and at Maersk in Denmark as well as in private collections all over Europe, and in USA, Canada, Hong Kong, Singapore, China and Australia.

More info on the artist: www.jacobgils.com

Some articles about Jacob Gils




At first glance Stephan Schnedler’s series Unreal Reality appears to be an architectural study in light, shadow and the effect they have on a selection of modernistic rooms and surfaces. However, the images are actually showing constructed and staged models build with simple materials such as cardboard and paper, and lit in the artist’s own studio. Schnedler elegantly plays with the viewer’s perception of space, scale and materiality, and creates an intimate atmosphere, which draws the viewer further in. With the emptiness of the depicted spaces one is led not only to consider what is in the picture but also imagine what might exist beyond the frame of the motif.

In Dancing with Gravity a range of floating textiles are captured in a series of single still-frames. The works simultaneously depict the duality of a floating lightness and a pulling gravity. Ruled by the technical attributes of still photography we witness moving surfaces and volumes suspended in both time and space. These isolated fragments help us understand the nature of movement and materiality, and makes the eye catch onto something that in real time would have already passed us by.

Stephan Schnedler (b.1984) lives and works in Copenhagen. He was educated at the School of Photography Copenhagen in 2010 , and has worked with the photographic medium since 2004.

Artist’s website : www.stephanschnedler.com



Rikke’s practice centers around the relationship between reality and the human being. She builds up her material in a new context, using instruments such as reflection, displacement and repetition, where the scenarios she creates appears as fragments or parts of a larger whole.

By this she seeks to questions the borders and edges of human perception.

She has, over past years, found herself more and more anchored in a metaphysic approach and interest, and seeks to examine the dialectic and the interaction between the human psyche and content on one hand, and the form of the world and things that inhabit it, and its matter on the other. She often works with the landscape and the body, and seeks to deconstruct and rebuild, by modulating the object itself. Via manipulation and different approaches to use and compose the medias, she aims to develop the field of those. 



Read more

The reality as we know it, is braked apart and with a phenomenological approach the known and the abstract is used in its reconstruction, where she likes to operate in the minimalistic field.

Rikke’s work often creates scenarios which lies in between utopia / dystopia, and she tries to challenge the viewer to reflect on the reality we are in. The sublime and beautiful, the light and the landscape is present, but with this also the unknown and frightening.

There is a grounded sensitivity in the universe Rikke creates and investigates which carries imagination as an important element.

Rikke Flensberg (b. 1980) lives and work in Copenhagen. She graduated from Malmø Art Academy with a Master of Fine Arts in 2009. She works primarily with fine art photography, but also video, installation and sculpture and she exhibits her work in Denmark and internationally.

Artist website: https://www.rikkeflensberg.com



Artist Lea Jessen sees the extraordinary in the ordinary, capturing it in images characterized by sharp composition and a refined sense of colour.

Her works often focus on details whose original contexts are not always readily revealed. With their focus on clean lines and abstract colour planes, these anonymous architectural fragments take on a minimalist aesthetic, making them reminiscent of the concrete art of the 1940s and 50s.

However the strict, concrete abstraction is countered by the small irregularities, cracks and dents that are revealed upon closer scrutiny, which have the effect of breaking the rigidity of the lines and surfaces. These subtle marks of decay, along with the soft hues of the images, infuse them with a certain melancholic beauty.


Read more

This is clearly felt in a work such as Steps, depicting a pool staircase descending into azure water. Apart from producing a dazzlingly lit architectural pattern, it also evokes both the leisurely connotations of the pool and the faded glamour of a bygone era.

A similar sense of loss and longing is also – albeit in a different sense – contained in Jessen’s urban and suburban scenery from Syria. Often shot at night, the places seem at once inhabited and deserted. The locations might be foreign, but the haunting feeling is profoundly familiar.

Lea Jessen (b.1978) lives and works in Copenhagen.
She was educated at the School of Photography in 2004, and has worked with the photographic medium since 1997.

More information: www.leajessen.com



Carsten Ingemann’s artistic practice unfolds in the space between a distinctly Nordic landscape tradition and a psychological space less easily defined. Darkness is at the centre of his endeavour, with all the complex connotations it evokes. The landscapes conjured by the artist are made visible through the extended eye of the camera and the long exposure technique he employs. Thus, his works reveal the beauty and mystery of that which under normal circumstances remains hidden.

His works represent an alternative view of Denmark,  focusing on the silent outskirts in contrast to the bustle of the city.  As a result, the pictures are an accentuation of the inherently local, which still exists in a global world.

To his fine art practice, Carsten Ingemann brings a certain sensibility towards his subject matter, honed during his more than three decade long career as a renowned photographer, documenting political events, conflicts and war zones from around the world.

For further information on Carsten Ingemann please contact the gallery or visit the artist´s website www.carsteningemann.com.