Neon Guides Me

Neon Guides Me for Anne Katrine Senstad

Marianne Solberg
“In 1949 the Los Angeles Times announced: ‘The aesthetic atmosphere of the exclusive Bel-Air district will not be tainted by the crass commercialism of a neon sign.’ But in Norway, neon advertisements still illuminated progress, modernity, and knowledge.”

Erik Meling
“Attractive neon. Powerful and challenging. Partly sparkling, partly glowing. Being, however, of an inquisitive disposition, and hopefully not an easy victim of such cotton-candy seduction, I choose initially to dampen my curiosity. As if the art was an opponent.”

JG Thirlwell in conversation with Patrick Rolandelli
“It’s this experiential dimension that Anne invokes with the sensory environments she creates. Her work shifts the foreground of the viewer’s awareness closer and sets up conditions that compel one to engage more thoughtfully with his or her milieu.”

Andres Kurg
“Playing on financial and religious connotations, the faux advertising cast its golden glow on the surroundings and was reflected back from the water at night, posing questions on the growing capitalization of urban spaces and the immorality of its driving forces.”

Sanna Karimäki-Nuutinen
“It gives an impression of simplicity, even spheres of monism, while concealing its advanced implementations and multiplicity of potential connotations. In the end, I’m left with a feeling that the light sculpture is doing something to me, in me, with me.”

Aura Seikkula
“While she does employ the history of Neon as an artifact, readymade, and an artform, her artistic agency pays tribute to the traditions of the Light and Space movement. Thus, her spatial practice, for me, seems to always relate to the possibilities to transform any space into an immersive dialogue.”

Sarah Walko
“The scientific explanation does not take away from its magic, it enhances it, poetically communicating that it takes our eyes to see the blue skies. In the human body, the color blue slows the heart rate and lowers blood pressure just as in nature it slows the growth of plants.”

Catherine Christer Hennix
“Presence is a continuous motion without displacement. It is always located at the midpoint of itself, a point which it enriches by its continuous variation and non-identity. The single point has no boundaries—it is infinite in all directions. It never moves, only varies depending on the inner distance to its origin, an origin without memories.”

Marianne Solberg
“In 1949 the Los Angeles Times announced: ‘The aesthetic atmosphere of the exclusive Bel-Air district will not be tainted by the crass commercialism of a neon sign.’ But in Norway, neon advertisements still illuminated progress, modernity, and knowledge.”

Erik Meling
“Attractive neon. Powerful and challenging. Partly sparkling, partly glowing. Being, however, of an inquisitive disposition, and hopefully not an easy victim of such cotton-candy seduction, I choose initially to dampen my curiosity. As if the art was an opponent.”

JG Thirlwell in conversation with Patrick Rolandelli
“It’s this experiential dimension that Anne invokes with the sensory environments she creates. Her work shifts the foreground of the viewer’s awareness closer and sets up conditions that compel one to engage more thoughtfully with his or her milieu.”

Andres Kurg
“Playing on financial and religious connotations, the faux advertising cast its golden glow on the surroundings and was reflected back from the water at night, posing questions on the growing capitalization of urban spaces and the immorality of its driving forces.”

Sanna Karimäki-Nuutinen
“It gives an impression of simplicity, even spheres of monism, while concealing its advanced implementations and multiplicity of potential connotations. In the end, I’m left with a feeling that the light sculpture is doing something to me, in me, with me.”

Aura Seikkula
“While she does employ the history of Neon as an artifact, readymade, and an artform, her artistic agency pays tribute to the traditions of the Light and Space movement. Thus, her spatial practice, for me, seems to always relate to the possibilities to transform any space into an immersive dialogue.”

Sarah Walko
“The scientific explanation does not take away from its magic, it enhances it, poetically communicating that it takes our eyes to see the blue skies. In the human body, the color blue slows the heart rate and lowers blood pressure just as in nature it slows the growth of plants.”

Catherine Christer Hennix
“Presence is a continuous motion without displacement. It is always located at the midpoint of itself, a point which it enriches by its continuous variation and non-identity. The single point has no boundaries—it is infinite in all directions. It never moves, only varies depending on the inner distance to its origin, an origin without memories.”

Anne Katrine Senstad was born in Oslo, in 1967, and raised in Singapore and Norway. Today she lives and works in New York and Oslo. Her work has been exhibited at Kunsthall Seinajoki, Finland (2021), S12 Gallery, Norway (2021), He Xiangning Art Museum, Shenzhen (2019), Kai Art Center, Tallin (2020), Bruges Art and Architecture Triennale, Belgium, (2015), 55th and 56th Venice Biennales (Collaterali Eventi), (respectively 2013 and 2015), Good Children Gallery, New Orleans (2017), and Trafo Kunsthall, Norway (2018).