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“TIL(BE)HØR”
Graduation work.
Cotton fabric, acrylic, ink, curtain fringe, metal
rod, fishing line.
4 meters x 2 meters. 2025
to this year’s graduation exhibition. *Til(be)hør* is both a gift to visitors and a demand to be seen and heard.
Kart is a trained calligrapher, and her compositions are often structured like a Sufi trance ritual: undulating
curves swirling in and out of sacred geometry. The work evokes the image of a prayer rug while
simultaneously referencing the artist’s memories of an everyday summer ritual: washing rugs and hanging them out to dry on
the balcony.
The piece also functions as a portal, perhaps to an ethereal realm. Surrounding the portal, Kart has painted the *Datura*
plant—commonly known as the moonflower: a mind-altering, hallucinogenic plant that
blooms only at night. Historically used across various mystical traditions worldwide,
the moonflower symbolizes the spiritual experiences Kart has had throughout her life:
her shamanic practice and her matrilineal heritage. Here, the psychedelic blossoms are composed of a cascade of organic brushstrokes reminiscent of the ecstatic dance of Sufi dervishes.
Kart draws inspiration from the poet and astrologer Claire Nakti, whose simple verse—“as she danced in her
unfathomable profundity”—comes to life in the moonlight.
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“Thank you.”
– inkjet print of my nephew on cheesecloth
incorporating henna, honey, milk, chili,
strawberry and hibiscus tea, and black tea. 60x50 cm.
2023.
the Danish flag at my father’s restaurant in Års—
which he opened after arriving in Denmark as a
guest worker in 1986. His gaze is lowered,
his posture slightly withdrawn. The celebration
is evident, yet his sense of belonging wavers.
The work revolves around childhood, national
symbolism, and the quiet negotiation between
being seen and fitting in. A moment where
identity is not yet a statement, but a feeling.
.
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“All this in my mouth” – henna, rum, raspberry, black oil ink, cotton fabric. 70x100 cm. 2025.
I dette værk undersøgte jeg gennem research forholdet mellem rum, tid og stjernestøv. Her fandt jeg frem til, at stoffet ethylformiat findes i gasserne i Mælkevejen, samtidig med at det forekommer naturligt i blandt andet hindbær og rom. Denne videnskabelige forbindelse ønskede jeg at integrere i værket som en materiel handling.
Under arbejdsprocessen drak jeg rom og spiste hindbær, mens jeg arbejdede med hænderne direkte på værkets overflade. Bevægelserne har efterladt hvirvlende spor, som for mig minder om et ribben, der forsøges åbnet – en gestus mellem kroppen og kosmos.
Afslutningsvis ønskede jeg et punktum – pun intended. Derfor tilføjede jeg en sort cirkel udført i sort olieblæk som en reference til det supermassive sorte hul TON 618, et af de største observerede sorte huller.
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As my painting practice and my work with henna have evolved, I have allowed trance-like states to emerge as part of the working process. For me, henna functions as a material that amplifies the qualities of the substances it encounters. My deliberate selection of these ingredients allows them to exist as autonomous material agents, collectively forming a poetic and latent language that opens my henna works to new layers of meaning.
In this work, my research into space, time, and stardust led me to discover that ethyl formate—a chemical compound identified in the molecular clouds of the Milky Way—is also naturally present in raspberries and rum. I wanted to translate this scientific connection into a material gesture within the work itself.
During the making of the piece, I drank the rum and ate the raspberries while working directly with my hands on the surface. The swirling marks left by these movements resemble, to me, the opening of a rib cage—a gesture that attempts to bridge the body and the cosmos.
Finally, I wanted to end the composition with a period—pun intended. I introduced a black circle using black oil ink as a reference to TON 618, one of the largest known supermassive black holes, allowing the work to conclude in a gesture that echoes both cosmic vastness and material finality.