Intersection, 2022

Løw, Camilla Oslo, Norway 1976

Intersection, 2022

Lacquer paint, oak, concrete
137 x 127 x 75 cm

Camilla Løw is known for her sculptural work, varying from monumental site-specific installations to smaller, more intimate pieces always made in close dialogue with the place in which they are located. Løw often uses materials associated with architecture and design, such as concrete, Plexiglas, metal elements and wood to create highly distinctive sculptures based on simplified forms. Cubes, circles, and grids are pieced together without any screws, glue, welding, or other forms of adhesion, but rather through stacking or being bound together with ropes.

The four works in this site-specific installation are defined by the architecture of the staircase and the space surrounding it. The sculptures refer to the room they are placed in and share an inner logic with repeating geometric shapes and colours. Bright playful surface in combination with raw concrete sculptures and heavy volume creates an elegant yet strict presence in the room. Parts of the sculptures are painted with blue, yellow, black and white Jotun paint, and other parts are left with the untreated raw concrete. These abstract works give associations to colour-field painting and American Minimalism from the 1960s.


Recent solo exhibitions include: ISCA Gallery, Oslo (2021 and 2020); Belmacz, London (2019); Kunstnerforbundet, Oslo (2016); Elastic Gallery, Stockholm (2015); Belmacz, London (2014); Elastic Gallery, Malmø (2013); The National Museum, Oslo (2012). Camilla Løw has also made several works for the public space in Norway, among others two works for the sculpture park at Henie Onstad Kunstsenter (2012); and Broken Thrones (2022), Ullensaker.


Quotes from Camilla:
“My work is made in relation to the space or context in which it will be seen, whether it is an outdoor piece, public commission or an exhibition in a gallery or institution. The space surrounding the sculptures, the architecture and the landscape is part of what defines and shapes the works.”

“I consider the work as a set of interactions with the viewer that depend on the viewer's position and movements. For this reason my sculptures relate to human scale and human presence.”

“The work is not concerned simply with histories of art, but draws on everyday culture and experience, architecture, clothing, dance, poetry, typography, all of the many forms that articulate the relationship between people and their environment.”