At first Ole Schjører-Hansen’s most recent sculptures seem to be two-dimensional. They seem to frame the vacuum; they embrace the air, form a frame around the intangible. Perhaps they are more like windows towards the infinity, gaps towards the unknown?

The black frames turn out to be made from painted iron and to involve a third dimension: the depth. They are not only signs, outlines, but also forms.

Each sculpture has its own characteristics, but typical for most of them is this immediate two-dimensionality, when watched frontally. The components of the sculptures are very simple: horizontal and vertical iron sheets, rings and bars, and as the most important part, the space.

One of the sculptures consists of a frame made from three black iron sheets, resting on a base of the same material. The fourth side of the frame is a blue iron bar, that vertically pierces the upper side of the frame. When watching the sculpture from various angles, one discovers that there are really two blue bars, arranged in parallel and going through the circular opening in the upper sheet. Unlike most of the sculptures of Robert Jacobsen, that seem to confine the space, keeping it in a frame of horizontal and vertical levels, involving an interplay of positive and negative forms, the black frames of Ole Schjører-Hansen appear to be openings – perhaps because of the typical lightness of iron.

Another sculpture – also made from black iron sheets – holds in its framed space a square iron sheet, itself penetrated by a circular opening. We stand in front of a frame, that implies something just as intangible as the air. And in this vacuum is another framing of the space. The sculpture hovers about the unknown, the indefinable. What you think you have gotten hold of, escapes you yet again. The perception of the sculpture happens gradually and involves time – the fourth dimension – in the process. Partly due to our perception of the world, partly to the various layers of our consciousness, the sculpture itself holds several layers.

The interplay of the tangible, the material – the iron – and the intangible, the immaterial – the air, the space – is the main theme for this series of sculptures. Different from these works is a somewhat bigger sculpture made of a diagonal sheet, which gives the impression of movement, something very unusual in the static world of Ole Schjører-Hansen.

In the recent years the artist has left the wood in favour of the iron, as it allows more precision as well as more stylistic purity. By means of spray painting Ole Schjører-Hansen is seeking a surface as homogeneous and shining as possible, not for perfection, but to avoid the fact, that the unevenness of the iron and the paint as well as the brushstrokes is distracting the spectators by focusing on the tangible so that they are kept in the concrete world. By making the surface almost perfect the iron looses its original function, its weight and its materiality and becomes a sign. At the same time the beauty of the material is in danger of becoming ornamental, thus the preparation of the surface is a fine balance between the perfection wanted and the preservation of some of the original material.

Ole Schjører-Hansen seeks in his sculptures to create a whole and attain a harmony between material and form, while aiming at more and more simplicity. His roots is found in the Constructivism, which he thinks is far from exhausted. While his earlier works from the 1990’s – made from engine parts – suggest the last attempt of the Constructivism to approach the technical conquests of the modern world, his most recent sculptures very much involve a spiritual dimension.

Marianne Barbusse