Magnus Gitt Henderson
Om sit bidrag til udstillingen AFGANG 2026, skriver Magnus Gitt-Henderson:My work for AFGANG 2026 is an exploration into my interest in the materiality, design, and ornamentation of commercial architecture. Specifically in how the materials, ornaments, and spatial layouts used in the construction of these environments are often cheapened reproductions of historically “authentic” materials, which are replicated […]
Portræt af Magnus Gitt-Henderson. Foto: Det Fynske Kunstakademi.
Kunstner
Om sit bidrag til udstillingen AFGANG 2026, skriver Magnus Gitt-Henderson:
My work for AFGANG 2026 is an exploration into my interest in the materiality, design, and ornamentation of commercial architecture. Specifically in how the materials, ornaments, and spatial layouts used in the construction of these environments are often cheapened reproductions of historically “authentic” materials, which are replicated endlessly to stage the modern consumer experience. It is as if the materials, ornamentations, and utilities themselves have no intrinsic value; their sole purpose is to “perform” their previous functions.
My work for AFGANG 2026 is an exploration into my interest in the materiality, design, and ornamentation of commercial architecture. Specifically in how the materials, ornaments, and spatial layouts used in the construction of these environments are often cheapened reproductions of historically “authentic” materials, which are replicated endlessly to stage the modern consumer experience. It is as if the materials, ornamentations, and utilities themselves have no intrinsic value; their sole purpose is to “perform” their previous functions.
While I view this hollowing of materiality and symbolism as evidence of systemic failure, I also see within it the potential to articulate new interpretations of value and meaning. This potentiality takes shape in the interactions, adaptations, and appropriations that occur within the engagement between humans and these corporate environments.
This investigation into this staged consumption and latent material potential has resulted in a series of sculptures that simultaneously reference multiple functions, architectural forms, ornamental languages, and modes of material replication.
