Simply: an upscaled version of a Barbie-styled hand mirror. A grotesque babydoll-like monster. Without any doubt, an obviously unique copy of a mass-produced miniature toy, that at first sight seems to belong at the bottom of an overstuffed drawer among other fading childhood memories. But this obscurely skews exclamation point of a replica refuses to be forgotten. It’s rather desperate for attention - but most certainly not for its own purpose. Utopian Reflections: Queer scale hand mirror (2020) is a sculptural piece that suggests its viewer to unbox their own reality and rejuvenate themselves free of a directly accessible surface, allegedly staring back through the mirror reflection. When through an open-minded encounter, allowing a conversation with the concealed dimensions available in the piece to take place, a calling to reposition and reformulate one's own being, beliefs and reality becomes loud and clear. Imaginably this work asks of us to make space, rephrase, and embrace - so that we can actually stargaze and further be blazed and amazed.

”If artistic practice does indeed thematize the body in its inevitability, at the same time facilitating a deferral and a gap in relation to the body as a restriction for fantasy and experiment, then it would produce what Foucault, in the course of his text, sees as a ’utopian body’: a body that is always elsewhere, that ’small utopian kernel from which I dream, I speak, I proceed, I imagine, I perceive things in their place, and I negate them also by the indefinite power of the utopias I imagine*’.”

- Lorenz, Renate, Queer Art: A Freak Theory, Transcript, 2012, p. 19

* Foucault, Michel, ”Utopian Body”, Caroline A. Jones (ed), Sensorium: Embodied Experience, Technology, and Contemporary Art, Boston: MIT, 2006, p. 223

The sculpture measures 174 x 62 x 6,5 cm and consists of pine-wood, MDF, mirror glass, acrylic filler, and acrylate paint.

Photo: Lena Bergendahl