Various works from 2003 to 2009

Bones, 2007, hot-sculpted and cut glass.

The Figure of Repetition, 2004, BA degree work, mold-blown and hot-sculpted glass.

Untitled (grey, black, white), 2003, hot-sculpted glass.

Samplings, 2006, hand-built ceramics. 

Light Entanglements, 2009, hot-sculpted glass, wire, wood. 

In Between the Here and Now I, 2005, thin, glass shards that gradually over the course of a week pop out of the box. 

In Between the Here and Now II, 2006, kaleidoscope, digital clock, motion sensor. When the viewer stands in front of the clock it stops. At the end of the day, the amount of time that someone has stood in front of it can be read in the delay of the clock. 

Lens, 2004, glass, water, steel. 

Construction, 2004, glass tubes, steel. 

Reflective City, 2005, mirrorized plastic bottles. 

Reflective Stations, 2006, blown glass plates, light, motor, wood. 

 

In the Bones Series, one of Bidstrup’s simpler works, a number of bone-like forms measuring up to 75 cm in height have been arranged in a long line. The allusion to the vase form is quite clear, but the forms have no bottom to them. This play on the concept of ‘vase’ and ‘bone’ lends the forms a morbid cast which piques the curiosity. The central impact of the work lies elsewhere, however: in the visual effect. No two of the objects are the same. Even within the individual pieces the thickness of the glass varies, and the tops of each one are cut and rounded differently. This gives rise to a whole gamut of subtle, visual shifts which transform the surrounding space: no matter what angle they are viewed from or which way one moves around them, one’s perspective on things is distorted. The fact is that there is no one preferred spot from which this work ought to be viewed. Its shifts in perspective and the references, in its size and shape, to the human body, require the beholder to walk around it.

Thus the work as a whole keeps us constantly off balance. Arranged in a straight line as they are, the bones acquire the look of an assembly line, seeming to allude to the banal finiteness of life. At the same time, the optical distortion of the visual experience preludes a fixed focal point, and hence Bones can be seen as a portrait of the reality with which we are confronted every day.
— Louise Mazanti, Ph.D., Art historian, A New Perspective on Beauty. Excerpt from catalogue, GLASSS 2007 at Holstebro Museum of Art