RUNE EL­GAARD: MO­MENTS OF HE­SI­TA­TION

Rune Elgaard’s prac­tice spans pain­ting and drawing and uti­li­ses ten­sion bet­ween pho­to­rea­lism and non-fi­gu­ra­tive imagery. His source ma­te­rial is found foo­tage and he dis­rupts con­textua­lity by com­bi­ning images si­mi­lar to the ma­king of a col­lage. The works have an al­most cy­ni­cal sense of ac­cu­racy but they are si­mul­ta­neously tac­tile as they are eit­her drawn or pain­ted.
You are li­te­r­ally on the edge of things when con­fron­ted with a work by El­gaard. His choice of mo­tifs looks like a scene a pho­to­gra­pher would see though the lens just be­fore selec­ting the image. Your at­ten­tion is drawn to the gap, to the pe­ri­phery and to the mo­ments be­fore so­me­thing hap­pen, dra­ma­tic or tri­vial.
Mi­chel Fou­cault uses the term he­tero­to­pia to de­scribe spaces that have more lay­ers of mea­ning or re­la­ti­ons­hips to other pla­ces than im­me­dia­tely meet the eye. These are spaces of other­ness, which are neit­her here nor there, that are si­mul­ta­neously phy­si­cal and men­tal, such as the space of a phone call or the mo­ment when you see your­self in the mir­ror. Ac­cord­ing to Fou­cault the ship is the ut­most he­tero­to­pia. It is a place cha­rac­te­ri­zed by mo­ve­ment, con­stantly on the way to other pla­ces wi­thout ever re­ally ar­ri­ving, it is a no-place.
In Mo­ments Of He­si­ta­tion Rune El­gaard pres­ents a se­ries of pain­tings that ad­dress the dua­lity and con­tra­dic­tions of cer­tain mo­ments and spaces.The ex­hi­bi­tion of­fers neit­her a pu­rely per­cep­tual or con­cep­tual ex­pe­ri­ence. It oscil­late bet­ween the two and can be seen as a he­tero­to­pia made to arouse the ima­gi­na­tion.
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