Anne Senstad

Portal for Perpetuity II, 2019


18h x 8w x 12d in
45.72h x 20.32w x 30.48d cm

1 of 6


Anne Senstad

Color Kinesthesia 6A42.2, 2012

Photographic c print from scanned color film negative

48h x 58w in
121.92h x 147.32w cm

Framed: 50h x 60w in
127h x 152.40w cm

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Anne Senstad

Forget Flavin, 2008-2019

Neon, wires, transformer

12h x 45w x 2d in
30.48h x 114.30w x 5.08d cm



Anne Senstad

Borealis #11, 2-19

Florescent and color plexi glas

60h x 6w in
152.40h x 15.24w cm

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January 9 – February 9, 2020


Anne Katrine Senstad


January 9th through February 9th      

Opening reception: Thursday, January 9th 7pm - 9:30pm


Freight + Volume is excited to announce Hyperborea an exhibition of recent work by interdisciplinary artist Anne Katrine Senstad. Reflecting a deep engagement with various avant-garde movements, including the Neo-Concrete group of Brazil and California’s Light and Space movement, Senstad’s work is underscored by a fixation with properties of form, sound and color, and specifically their overlap, the neurological phenomenon of “synesthesia”, wherein neural pathways signalling sensory experience are crossed and fused. In her first showing at the gallery, the artist presents a series of photographic works depicting precisely arranged, hard-edged planar forms along with neon sculptures and video installations; despite their apparent grounding in the realm of formal abstraction, Senstad’s pieces are set apart by an enigmatic, ethereal character and ephemerality that runs throughout her practice in all mediums. Working with the most elemental qualities of color, light and form, she corporealizes them into mirage-like objects that quiver between representation and perceptual experience, querying the inevitable slippage amongst our simultaneous systems of perception, sensory experience, and rational cognition.


Senstad frequently works with text, and in Forget Flavin, first exhibited at the Zengai Museum of Modern Art, Shanghai, she integrates her work with light and deconstruction of perception into an “ironic insult” to the established hierarchy of art history. The issue of the over-representation of male artists is of special significance to Senstad, who observes a particular dearth of female artists within the spheres of Minimalism, Land Art, and the Light and Space movement.


Eschewing LED lights and other artificial materials, Senstad has long used neon heavily in her practice, noting its uncanny formal qualities and literal otherworldly nature, existing in abundance in the earth’s atmosphere and outer space. Recalling the utopian, quasi-mystical roles and participatory models imparted upon abstract geometric constructions by artists throughout the 20th century, perhaps best expressed in the Manifesto of the Neo-Concrete, stating their desire to “use phenomenology to create art that expresses complex human realities”, as well as the experiments in sensory deprivation undertaken by Robert Irwin and other Light and Space movement artists, the works in Hyperborea transmute raw sensory data into evocative constructions that are often oddly specific and deja-vu like; regarding “Beckoned to Blue and Red”, two video installations in which flickering projections of grain and grit against modulating washes of color stimulate the movement of gaseous neon particles, Senstad notes their similarity to the “Prisoner’s Cinema” phenomenon, or when as a child, one would push their fingers against their eyes to produce dots and patterns. Senstad’s relationship with color is exacting, with particular tonal juxtapositions imparting a sort of ambient consciousness upon the works, further blurring the lines between abstraction,materiality, and reality,  situating Hyperborea in a nether-space between the organic and artificial.


Two freestanding neon sculptures, Portal for Perpetuity I and II, display the nuances of the artist’s illusive ability. Fashioned of neon and transparent mirrors, Senstad describes them as “inverted black holes”, objects of seemingly infinite expanse yet having restrained physical bounds. Their respective color pairings (one of red and blue neon, the other pink and yellow) amplify this notion of sheathed potential energy.


In her photo-based work, the artist explores similar overlaps between color and sensory perception. Depicting a hot pink gradient on a skewed plane, one piece from Senstad’s large-scale Color Kinesthesia series is on display; captured as a still from another video piece (the artist frequent recapitulates past formal devices), the hyper-saturated and gradated fuschia tones appear both reflective and diffusive, as if flickering between a physical photograph and a window cut to reveal a pink void. Similarly, an otherworldly inner energy emanates from her Concrete Planes series. Consisting of geometric arrangements of hard-edged triangular forms in carefully selected pairings of color, they call attention to the constant tension between physicality and perception, especially the atmospheric spaces and slippages between the two wherein the brain fills in its own hallucinatory simulacra. Organized into triptych and diptych formations, they reflect Senstad’s sensitivity to the fault lines of perception and illusion, as she weaves them into a discourse of color, light, and form.

Anne Katrine Senstad was raised in Singapore and Norway, and today she lives and works between New York and Oslo. Having studied at the University of California at Berkeley and earning her BFA Honors in Photography from the Parsons School of Design in New York, she went on to study film at the New School for Social Research in New York. Senstad's work is represented in institutional, corporate and private collections internationally, and she has exhibited widely internationally, notably at the He Xiangning Art Museum, China 2018, Bruges Art and Architecture Triennale, Belgium (2015), 57th Venice Biennale at Centro Culturale Don Orione Artigianelli,  56th Venice Biennale at El Magazen dell'Arte (2015), 55th Venice Biennale at Officina delle Zattere (2013), Zendai MOMA, Shanghai (2009), Kunsthall 314, Norway (2011), The Nobel Peace Center, Oslo 2003, ISEADubai 2014, Bjørn Ressle Gallery (2007-10), Gary Snyder Fine Art (1997-2003), Elga Wimmer Gallery(2010) and Yi Gallery(2019) in New York, Noorderlicht House of Photography, Holland (2019), Athr Gallery, Jeddah alongside James Turrell, Robert Irwin, Dan Flavin and Carlos Cruz Diez (2018). KAI Art Center, Estonia (2020), Freight & Volume Gallery, New York (2020). She is the recipient of artist residencies at Marblehouse, Vermont, King Abdulaziz Center for World Culture, (Saudi Arabia) 2017 and Abu Dhabi Arthub (UAE). She has received artist grants from Arts Council Norway, Office for Contemporary Art (NO), Forbundet Frie Fotografer (NO), Norske Billedkunstnere (NO), Foundation for Contemporary Art (NY).  Public Art Commissions include Wolfe Center for the Arts, BGSU, Ohio with Snøhetta Architects and Penn University Engineering Building with Billie Tsien and ToddWilliams architects (TBWA).