Friends posing with Tegner’s 1921 sculpture as backdrop

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Portrætserien startede som et coronaprojekt – “Rusland” er et ofte øde lyngbeklædt område med udsigt til hav og skov ved Dronningmølle. Rudolph Tegners museum og skulpturer befolker det smukke område.

Hulkamerabilledet i 1990 var mit første af Tegners skulptur. Blødheden i den eksponering lod krigeren fremstå med et formildet udtryk. På tættere hold virker hans ansigtsudtryk næsten bedrøvet over at have dræbt modstanderen. Måske af empati, måske fordi han (kunstneren) indså i starten af 1920’erne, at sejren efter 1. verdenskrig næppe indvarslede en varig fred.
Jeg har også tænkt over, hvad det mon siger mænd og kvinder i tider af krig og fred på denne side af 1989.

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The series of male portraits started as a covid project: “Russia” is a solitary heathered hill area with a view to forest and sea on the coast of North Zealand. Rudolph Tegner’s museum and sculptures populate the beautiful area.

A pinhole photograph in 1990 was my first photographic encounter with the sculpture. The softness of that exposure rendered Tegner’s warrior with a milder attitude. At a closer look his facial expression seems almost sad having killed his opponent? Perhaps out of empathy, perhaps because he (the sculptor) realized that peace may not prevail in the wake of The Great War victory.
I have been wondering how this speaks to present-day males and females in times of war and peace, say, since 1989.

To be continued …..

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