Cajsa Von Zeipel portrays queerness in a way that challenges its appearances, the voyeuristic, the curious and the pornographic. Queerness in her work comes as a state and a world. Its inhabitants are fairies, young elven girls in high platform shoes, tights, Luis Vuitton ultra-fake bags and other relics of excessively branded goods – urban nomads like ghostly homeless carrying all their possessions with them. They kiss and hug, semi-melted in a mash-up of flesh, buggy clothes, weird futuristic tech wearables and heavy make-up. In the white gallery space, they look like a Laocoon-type sculptural group of entangled bodies. They hold each other tight, as if they were just violently warped together and out of their dimension to a different, parallel universe. Instantly frozen, as if sprayed with liquid nitrogen in awkward positions, they are here to remind as of fleeting moments, of youth and lust. With its Rococo style, Von Zeipel mocks today’s fake prudence. Her hyper-human figures are like demigods of a fleeting cultural adolescence. We are expecting them to be soon put in question, or even burnt as evidence of idolatry and sinful female exasperation. We wouldn’t be surprised if, scratching the silicone girls, we would find remnants of real lovers. A female Bluebeard Sculptress engaging in immortal petrification of her wide open eyed models. Could art posterity be a dreadful fate for a moment of lust?

Formula X, 2021
Silicone, steel bars, expandable foam, rubber tires, epoxy resin, and mixed media, 250.19 x 149.86 x 214.99 cm
Courtesy of the artist and Company Gallery

Catch and Kill, 2020
Pigmented silicon, mixed media, 127 x 195.6 x 182.9 cm
Courtesy of Faurschou Foundation