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Over a period of four years the artist Trine Søndergaard patiently gathered the images in the series Interior. Revisiting and returning to the winter rooms of the uninhabited Danish manors she has chosen as the latest sites for her unique precision and sensibility - and continuing interrogation of the photographic image.

The manors had been empty for over a half century when she first arrived. A shell of the past - their rooms stripped and devoid of life. There are clear associations with the 19th century Danish painter Vilhelm Hammershøi: the harmonic tonality of a palette of greys, the acute awareness and rendering of light. Søndergaard mirrors thismasterly use of natural light – slowly, painstakingly drawing out the muted nuances of dusty white on white, challenging perceptions of the instantaneousness of photography – especially in the digital age.

In Interior the exposure is long - as is the perspective. The tunneling depth of doors beyond doors, the many staircases ending at a window and the view beyond – altars to the image and the light outside the damp decay of the manors' thick walls.

A visual and thematic continuation of her former portrait series Monochrome Portraits and Strude, the images in Interior explore an inner state of mind - probing what is usually concealed and hidden from view. Only here the images, like the buildings, are uninhabited. The only human traces captured in the waning light are ghostly footprints, and words scratched into the petrified dust on an attic window that can no longer be closed. Open to the elements – the interior and exterior no longer hermetically sealed.