One, Two, Three, Four
Beautiful Person Casper Sejersen presents One, Two, Three, Four, a debut solo exhibition of personal work at Cob Gallery London. “I have always loved imperfections, textures, structures… Putting stories into, onto the surface of things. Pearls, cigarettes, flowers, drumskins, scratches. Love.”
Beauty Papers: How is the process of curating a show different to editing an editorial?
Casper Sejersen: When I do my editorials I see it as a strong collaboration between the different people on the team. Hair, make up, set design… You are all in it together, working towards a common vision. With a gallery show like this, I am working more like a lonely wolf. I’m showing my very personal thoughts, putting so much more on the frontline, for good or worse. In this show, everything starts and ends with me, and I really fought with myself about the ideas and execution… because suddenly I could do anything. So the thought process, finding the right narrative and concept, it has been harder than when I do my editorials, but for me hard is good.
BP: What is it that makes an image right for a gallery wall, that may different from what makes an image right for the page of a magazine.
CS: I am only talking for myself, but it is very different. An editorial should reflect the zeitgeist. You can have deep things to say, you can be political, you can make a pop song, you can make a thing only about the colour red… but it has to be right now. I want the pictures I have made for this show to have a longer life. I have stripped them down, made them simple, generic, without time.
BP: What is One, Two, Three, Four about?
CS: The show is based on memories from different stages of my life, especially my childhood, and I don’t want to show them in a way that feels period or pastiche, because these memories are still very relevant to me today, and hopefully for years ahead. One, Two, Three, Four is about rhythm, drums, counting, systems. About making patterns to be in control, and about learning to lose that control. It is about finding beauty in small accidents and daily life, and putting objects in imperfect perfect order. When you fall and hurt your knee, the moment when the pain is leaving can be close to happiness in an absurd way. I have always loved imperfections, textures, structures. I want to say big thank you to Cob gallery for giving me the space to show what a part of my head is full of.
BP: How does it feel looking over your archive? Are you brutal or sentimental?
CS: I am not a sentimental person. I am good at getting rid of things. Brutal it is. I am not good at looking back at my own work, I want to do new work all the time.
"When you fall and hurt your knee, the moment when the pain is leaving can be close to happiness in an absurd way."
BP: You’re showing in London – what’s the best thing about the city?
CS: London is my second home. It’s a cliché but I love watching football and having a pint in a pub, talking to black cab drivers, the Barbican, how multi cultural the city is. I love London humour, even if it is not that refined compared to the Danish [smiles wickedly].
BP: Since I last interviewed you, you shot Cate Blanchett for Issue Seven GLAMOUR. How was the sitting for you?
CS: Cate was all I hoped she would be. Smart, funny, genuine, cool and super enthusiastic about the project. It was a real pleasure to work with her. Sometimes easy is actually good.