Jane Balsgaard Glass Boat

32jb Glass Boat, Jane Balsgaard, plantpaper, twigs and glass, 14" x 13" x 1.5" 2015, $1,500


Balsgaard

32jb BARKBÅDEN, Jane Balsgaard, peeled willow and paper morbæbark, 17" x 29" x 14”, 2008-2009, $4,100


Balsgaard

17jbTwisted Water Animal Jane Balsgaard, willow and handmade paper, 17.75" x 59" x 11.75”, 2002, $5,800



Balsgaard

19jb Assemblage II, Jane Balsgaard, wood and handmade paper, 13.75” x 16” x 7.5”, 1995, $1,800




Balsgaard

27jb Untitled, Jane Balsgaard, willow and paper, 39" x 21" x 5.75", 2002, $3,000


Balsgaard

20jb Assemblage III, Jane Balsgaard, wood and paper, 12.75" x 11.5" x 5”, 1995, $1,400


Balsgaard

18jb Assemblage I, Jane Balsgaard, wood and handmade paper, 13.75” x 16” x 7.5”, 1995, $1,900


Balsgaard

31jb Tiny Boat, Jane Balsgaard, sisal, 11" x 24" x 9.5”, 2010, $3,250


Jane Balsgaard

23jb Easter Morning, Jane Balsgaard, willow and paper, 24" x 29" x 2.75", 2002, $2,100

Selected collections and exhibition venues:
Museum of Decorative Art, Trondheim, Norway (Four Danish Weavers); Fanø Fine Art Museum, Denmark (Under Distant Skies – solo exhibition); Pori Art Museum, Finland (Transit); Szombathely Art Museum, Hungary (International Biennials of Miniature Textiles); Carillo Gil Museum, Mexico; Textile Museum, Tilburg, the Netherlands; Lunds Konsthal, Sweden; Leopold Hoesch Museum, Germany (International Biennials of Works in Paper); Nagoya, Japan (In Our Hands; awarded a Sincol Prize); North Dakota Museum of Art, Fargo (A Scandinavian Sensibility); Museum of Decorative Art, Copenhagen, Denmark (Jane Balsgaard, solo exhibition); Fukui Fine Art Museum, Japan (solo exhibition); ARoS Arhus Art Museum, Denmark.


Jane Balsgaard

28jb Boomerang, Jane Balsgaard, willow and paper, 7.25' x 31.5" x 27.5", $30,000

Statement:


A vibrating line in empty space is capable of filling a room far more than its singular presence would seem to allow. As I construct my sculptures, I seek to let space penetrate them. I had studied sculpture at the Royal Danish Art Academy and at first I was not interested in working with paper. But the possibility of breaking the law of gravity with light, airy works tempted me. So I joined a course in paper sculpture at the Pacific Basin School of Textile Art in Berkeley in 1983. I have been working with plant paper ever since, experimenting with expressions in paper in connection with sticks and other finds from nature. I keep a large collection of natural materials for use in my work and I have tested most of the plants for papers in my garden. I have discovered the best seaweed comes from the fjord by my summerhouse. Some of the plants I treat in the old arte povera concept, forcing them to grow in another direction in order to fit in the shape of a future sculpture. Jane Balsgaard