The Shape Of The Space Between (Us)
Tempesta Gallery
Milan, 2025
This work unfolds across two screens. One camera moves inside the scanned bodies, tracing seams, hollows, and cavities. The other lingers outside, on surfaces, postures, and gestures. The dual perspective refuses resolution. Intimacy is mirrored by distance, interior by exterior, the seen by the unseen.
A spoken word score threads philosophy and poetry through the moving images. It speaks of negative space, of the outline where a body was or could be, of the grammar of identity as a grammar of loss. Repetition, “The earth turns, and because it turns, bodies entangle. Because bodies entangle, the earth turns,” becomes a pulse that mirrors the looping, circular logics of the images.
The piece suggests that relation, between bodies, words, things, is never simple identity but a provisional entanglement. We crave neat categories, “this is that,” to make the world legible, but those fixes always erase something else. What remains, the negative space, the shadow, the seam, is where meaning and feeling live.
The figures, rendered in translucent hues, entangle and collapse into one another, forming fleeting architectures that never complete. What remains is not solidity but residue: the imprint, the hollow, the place where a body could be. The work stages an archaeology of relation. How do we see and missee one another? And what survives when every act of naming is also an act of erasure?
I See Myself From Where You Stand
Shipton Gallery
London, 2025
This body is not singular. It is entangled. Scanned twice, once upright and composed, once folded inward and protective, the figure is recomposed into a form that holds both postures at once. Vulnerability becomes structure. Strength becomes surface.
The work positions the body as an interface, a threshold between inside and outside, presence and absence. At first glance, the figure suggests wholeness. Yet form deceives. It conceals the gaps and absences that shape how we perceive. Bodies, too, are made by what is missing.
To think of form as a question is to admit its contingency. A body is never fixed. It resists containment, leaks across boundaries, strains toward continuity.
Holding Hands In The Dark
Guts Gallery
London, 2024
Holding Hands in the Dark explores the liminal space between dreaming and waking, where boundaries between self and other dissolve. The work examines shared consciousness, shifting roles of observer and observed, and the interplay of intimacy and isolation.
The sculpture features fragmented bodies in perpetual embrace, their forms merging to evoke interconnectedness and the fluidity of identity. It asks: How do dreams reshape the boundaries between self and others?
In the performance, bodies transition between moments of connection and detachment, questioning surveillance, control, and the divide between public and private. An original soundscape, incorporating anonymous dream fragments, heightens the disorientation and mirrors the cyclical rhythm of sleep and wake.
Together, the sculpture and performance offer a meditation on the blurred boundaries of perception and the enigmatic dynamics of human connection: Who are we when we exist in someone else’s dream?
A Whole Population
Housed Inside A Single Body
Copeland Gallery
London,
2023
Performance in collaberation with Joshua Woolford
As the influence of emerging technologies continues to define and redefine our realities, ‘A Whole Population Housed Inside a Single Body’ explores and expands upon the roles of digital, technological and organic interfaces as mediators toward a shared existence.
Human experiences are lived and held in the body. Skin, clothing and other physical cues from our external surfaces shape the visible and tangible human interface.
An interface which is in constant flux, navigating both physical and digital realms through sight, sound and touch. Within these realms, everything moves in relation to each other. Nothing is isolated, nor can it be understood without all other things.
To be a body isn't to be in space, it is to be of it. As the boundaries between collective bodies merge and individuality is reimagined, we find elements of others within us and recognise ourselves in others. Nobody is untouched by the world(s) they inhabit.
I Hold You Together
Alice Black Gallery
London, 2021
‘I Hold You Together’ is a visualisation of two bodies melting into one: one holding and the other being held. The mingled bodies create a blur by undoing the clear lines between them, suggesting that it t’s rarely either or but usually both - nobody is untouched by the world they live in. The work explores fragmentation, asking what is the thing that holds us in place - that keeps us together?
How To Turn Knots Into Bows
Saatchi Gallery, London, 2021
Photo Mika Kailes
It is a phenomenological truth that perception is an active action driven by intentionality, and therefore our understanding of reality becomes diversified. This goes so far as there is a term called the Rashamonn effect, which describes that if various eyewitnesses share the same story we know it is a lie.
‘How To Turn Knots Into Bows’ is a performance documenting the first-person point of view in a shared experience. A team building exercise in which the performers move around each other trying to not fall apart, metaphorical of how we become entangled with one another.
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The Third Entity
Cromwell Place,
London, 2021
We perceive ourselves only in relation to those around us; consciousness is experienced by contrast. However, ‘mixing’ is a term we rarely talk about; when we are with others, especially loved ones, we mix and it becomes harder to tell if we are still apart.
The work meditates on togetherness and apartness in social spaces, looking at the fixity of borders and skin. We need borders to separate - between inside and outside, me and you, up and down, here and there, right and wrong. There are many concepts attempting to interpret the complexity of human connection and the unseen space that develops between them. How do we frame the subjects involved and where do the boundaries lie between them? Can an interaction itself be viewed as an additional entity? Or can we become one through an interaction?
Virtual Private Network
Berlin, 2019
Film Stills
‘VPN’ is an installation consisting of two video projections depicting a visual and verbal dialogue between two realities: the virtual and the real.
The first video shows dancers lost in their inner state, driven by a primal and physical compulsion to move from a repetitious beat. The movement of the dancers is decelerated, transforming the piece into a meditative visual experience.
The second video is a 3D performance of the same dancers located in a seemingly infinite virtual space. The perspective moves through the digital environment, free of borders, entering and re-entering the individuals, while they progressively morph together and become increasingly connected.
These videos are additionally accompanied by verbal monologues which explore how our society is changing due to the rapid development of technology and the impact this will have on present and future human relations. When installed, the two projections place the viewer in between the tensions of two worlds, creating a sensory domain of vision and sound that challenges our understanding of reality.
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© Anna-Lena Krause, 2025