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The Shape Of The Space Between (Us)
Tempesta Gallery
Milan, 2025
Nine translucent resin sculptures entangle and collapse into one another. Some remain so translucent you see through them; others grow opaque, dense. In their forms, the space between bodies becomes material, becomes visible. What was unnamed, the shape of proximity, the imprint of togetherness and rupture, now holds form.
How are we shaped by the bodies around us? Not as metaphor, but as fact. We are pressed, imprinted, held. The boundary between self and other is never clean; it is negotiated through each encounter. These sculptures are the evidence of that negotiation, not representation, but residue.
The work unfolds with a two-channel film installation. As bodies are scanned, transformed from flesh into data, from bounded self into landscape, we watch skin dissolve into contour. The film stages what the sculptures already know: that solidity itself is provisional, that what appears empty may be the ground we share.
The work asks:
What survives the act of naming? What remains when we strip away the words we use to keep ourselves separate? The answer lives in the seams, the hollows, the translucent spaces where one figure bleeds into another. We need borders to understand ourselves, but perhaps what we most deeply recognize is what passes between them.
Scath
Tropez
Berlin, 2026
There is a word in Irish, scáth, that can mean shadow, shelter and ghost. One word holds together what English separates. A body can cast a shadow, offer shelter and, once absent, persist as a trace.
The sculpture begins with a physical encounter between two bodies. Their forms are recorded, digitally transformed and cast into concrete. No single position contains the complete encounter. The viewer must move around the work; each angle reveals one form while concealing another, and one view offers neither body, only the space their proximity produced.
Concrete gives weight to something that should not ordinarily possess it. Cast in a material built to outlast the bodies that made it, the work holds a contradiction rather than resolving it: the most permanent thing here is the trace of something no longer present.
Scáth approaches the body not as an isolated form, but as something continually constituted through relation. It asks what persists after an encounter has ended,
Waiting In The Same Place At Different Times
Sarabande Foundation
London, 2026
We construct intimacy retrospectively. What we call closeness is always partially assembled from fragments that did not originally belong together.
Relation does not follow existence and attach itself afterwards. Jean-Luc Nancy proposes something more fundamental: that relation constitutes existence from the start. Being is always already being-with. No self exists first, whole, and then meets another. There is only ever meeting, all the way down.
This wall-based relief is made from bodies, but not from an encounter. Each figure originates from a separately recorded 3D body scan, maintaining an indexical relationship to a body that was physically present before the scanner. The relation between the figures, however, was digitally constructed afterwards.
Every individual fragment is documentary. The encounter they appear to form never occurred.
The body was there. The encounter was not.
This gap may already belong to intimacy itself. Bodies are never isolated or self-contained. Gestures migrate between people. Language is inherited. We are, quietly and continuously, altered by every encounter that came before.
Everybody is already an archive of others.
You are shaped by the ones who held you before me. When I hold you, I hold them too.
I Witness You
Sarabande Foundation
London, 2026
The work fragments a single encounter into separate translucent panels. Each panel records only part of the event; only when layered together do they begin to suggest a whole.
We construct intimacy retrospectively. What we call closeness is often assembled from fragments that did not originally belong together. The space we share does not hold us separately but in relation, each surface carrying traces of what passes between us while never fully resolving into certainty.
I See Myself From Where You Stand
Shipton Gallery
London, 2025
This body is not singular. It is entangled. Scanned twice, once vulnerable, holding inward as a shield; once strong, the figure is recomposed into a single form. Both postures occupy the same space.
You see yourself from where I stand. Move through the space and the self shifts. Which posture is real? Perhaps we are made by how we imagine being perceived, by the selves we construct for another's gaze.
The form deceives at first glance, suggesting wholeness. But gaps and absences shape everything. Some sections are clear, translucent, barely there. Others are opaque, dense, material. Some are missing entirely. Bodies are made by what is absent as much as what is present. Bodies, too, are made by what is missing.
A body is never singular. To imagine yourself into another's perception is to admit form can never be fixed. It shifts with every gaze, every position in space. It holds no final answer.
Waiting In The Same Place At Different Times
Sarabande Foundation
London, 2026
Nine translucent resin sculptures entangle and collapse into one another. Some remain so translucent you see through them; others grow opaque, dense. In their forms, the space between bodies becomes material, becomes visible. What was unnamed, the shape of proximity, the imprint of togetherness and rupture, now holds form.
How are we shaped by the bodies around us? Not as metaphor, but as fact. We are pressed, imprinted, held. The boundary between self and other is never clean; it is negotiated through each encounter. These sculptures are the evidence of that negotiation, not representation, but residue.
The work unfolds with a two-channel film installation. As bodies are scanned, transformed from flesh into data, from bounded self into landscape, we watch skin dissolve into contour. The film stages what the sculptures already know: that solidity itself is provisional, that what appears empty may be the ground we share.
The work asks:
What survives the act of naming? What remains when we strip away the words we use to keep ourselves separate? The answer lives in the seams, the hollows, the translucent spaces where one figure bleeds into another. We need borders to understand ourselves, but perhaps what we
Holding Hands In The Dark
Guts Gallery
London, 2024
Five bodies, scanned at different times, in different spaces, never having touched. They are positioned together now, melting into one another, partly laying inside one another. Borders dissolve, skin ignored.
The sculpture stages an intimacy that never happened. A forced entanglement. We watch strangers made to occupy the same space, their forms collapsing where they should remain separate. Orange resin and cement hold what should have stayed apart.
A performance unfolds alongside it. One person sleeps. Another lies beside them, not actually together, only spatially close. A third stands above them, filming with an iPhone. Voyeurism rendered intimate. Privacy made visible.
A soundscape builds from dream fragments. Each dream is someone else's dream of you. They dream of touching you, kissing you, knowing you, acts you never consented to, in a space you cannot enter or refuse. Your body exists in their unconscious without your permission. You are inhabited without choice.
Who are we when we exist in someone else's dream? Not as ourselves, but as their construction. Not as subjects, but as material. The work asks: What happens to autonomy when someone can do to you, in their mind, in the dark, whatever they want? What survives when you discover you've been dreamed?
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’s rarely either or but usually both - nobody is untouched by the world they live in.
When someone loses themselves, who holds them? You do. And in holding, you become the thing that keeps them together. You become inseparable from them. Your gesture of care is also your own undoing.
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, 2026