Ane Henrisken

27ah Mille Fleur, bedclothes and jersey dots, 94.5” x 124”, 2008, $34,000


Through the years I have had several textile references in my doing. In this history old samples together with the Millefleur tradition did set me off. Almost as if I was a young girl I exercised - using symbols and good omens in hope of a bright future, underlined as a naïve dream by using tints of pastel pink. A large part of the sensitive lies in the material used, a thick weft made of worn out bed linen which small buttoms, ribbons and other reminiscences peep out and reweal.

Millefleurs is the term used to describe a category of French and Flemish tapestries on the verge of the Northern Renaissance. In the late 15th and 16th centuries large workshops were weaving tapestries with a limited amount of figures or animals against a background of thousands of flowers.

Samplers, has been learn embroidery cloths conducted in Europe from 1500 t., especially for young girls from high society, later as part of school handicraft classes. The motifs, often with various kinds of borders, are letters and alphabets, often dated and bearing the girl's name or initials and her ancestors embroidered patterns and religious and secular symbols that were copied from printed pattern books.

Ane Henrisken



Ane Henriksen

26ah State of Mind, Ane Henriksen, Viscosed silk, cotton cloth, jersey dots, 102” x 95”, 201



ane Henriksen

25ah Human, Ane Henriksen, Linen (from Japan) warp, Silk (from China) weft, 80.5" x 57", 2010, $11,000



ane Henriksen sculpture

24ah Black & Blue
Ane Henriksen, silk warp, linen weft, weaving, 94.5" x 72.75"; 246.5cm x 185.5cm, 2003, $25,600


ane Henriksen sculpture

22ah Flexible 5, Ane Henriksen, warp:wool-weft: marble patterend plastic-laminate, bast & rubber, 5" x 6" x 5", 2002, $1,050



ane Henriksen

23ah Screen Playing, Ane Henriksen, warp: flax-weft: Chinese silk and acrylic painted synthetic rubber, 55" x 110", 2001, $10,500



ane Henriksen weaving

20ah UNTITLED I
Ane Henriksen, linen, silk, synthetic rubber
10.75" x 11.5", 2002
$1,050

ane Henriksen small weaving

21ah Untitled II
Ane Henriksen, linen, silk, synthetic rubber
10.75" x 11.5", 2002
$1,050



Ane Henriksen


8ah Set Going, Ane Henriksen, wool, silk, flax laminated sheets, 7.87’ x 19.68’, 2.4 x 6m, 1990’s, $28,000, plus shipping

Selected collections and exhibition venues:
Museum for Applied Art, Copenhagen, Denmark (4th Nordic Textile Triennial); Musée des Arts Decoratifs, Paris, France; Lane Municipal Gallery, Erfurt, Germany (Configura, Art in Europe); Nagoya, Japan (In Our Hands); Kyoto, Japan (3rd International Textile Competition); Riga, Lithuania (Sculpture Quadrennial); Textile Museum, Tilburg, the Netherlands (Flexible 1); Pittsburgh Center for the Arts, Pennsylvania; Tournai, Belgium (3rd International Textile Triennial); Central Museum of Textiles, Lodz, Poland (8th International Triennial of Tapestry); Museum of Art, Sao Paulo, Brazil; National Museum of Scotland; Museum of Fine Arts, Budapest, Hungary; Chieri, Italy (Fiber Art Biennial); Bellevue Art Museum, Washington (American Tapestry Biennial 6):, Konsthallen Art Museum, Luleå, Sweden; Museum Jean Lurcat d’Angers, France; Deutsches Textil Museum, Krefelt, Germany; (Artapestry1 & Artapestry2); Beijing, China, (5th International Fiber Art Biennale). Recipient: Outstanding Award, International Textile Fair, Kyoto, Japan; Award, Danish State Art Foundation.





Ane Henriksen Detail

Statement:
Ane Henriksen “possesses a very rare degree of insight into how to utilize and master her medium.” observes Bodil Busk Laursen, Director of the Museum in the exhibition catalog of the same name, Lady Sings the Blues: Ane Henriksen. “In her pieces, there is an internal coherence, where the choice of materials, technique, and structure constitutes a most significant aspect of the work’s ultimate expression.” Henriksen has been creating pictorial wall tapestries for 25 years. In doing so, the artist “…with sensitive seismographic precision, has caught hold of painful nodes in the world, in nature and in human existence. Through these pieces, she has managed to redeem experiences that nobody evades,” Laursen observes.