A wooden block, as long as my body, is sticking out of a window on the fourth floor of a huge blind wall. On exactly 15.12 the sun casts a shadow and makes the block complete, showing the inside out.
The work is available as a print on Hahnemühle FineArt Baryta paper, mounted on Ibond in an edition of 3 and 1 A.P

Inside Out

A stone is split in two, with the help of two drilled holes and two plugs and feathers. Both parts are put up on a coloured plinth, one has the colour of iron oxyde (red) and the other the colour of chrome oxyde (green). The plinths are put against eachother, belly to belly on a seperate white plinth which is mounted against the wall, about 20cm above the floor.


Split Rock

A digital photo-edit of the rock with a picture of the silicon casting from the hole inside the rock superimposed over it. 
Printed on Hahnemuhle FineArt Baryta 300 Satin paper, framed in oak with UltraView UV70 glass.
Edition of 3 and 1 AP. 

Hotspot

Colour photograph edition of 3 + 1 AP (black or oak floating frame included)

Silent witnesses

A blind print in 300 grams Hahnemuhle Britannia watercolour paper 24 by 32 cm
The inside of a split stone has been used as a press to create a blind print to reveal its surface.
An edition of 30 and 4 A.P.
(frame in white or ash sold separately NOK 1200)



Surface on the inside

Pile is a silkscreen print of a pile of iron ore rocks, found at Salangsverket, a closed down iron mine in Northern Norway. The rocks got ground down into very fine dust and used as the pigments to print the image.

Silkscreen with iron pigments - edition of 10 (ash frame with UV70 antirefleksglass for 3000 NOK extra)

Pile

In the corner of a large alcove, in an abandoned Eastern German bakery,  is a charcoal drawing. The shape of the drawing is the same as the floor plan of the space in which the alcove is part of. This drawing refers directly to the large power plant Lippendorf, which dominates the landscap in the wide perimeter between Leipzig and Meusselwitz, where the bakery is located.

The dimensions of the picture is 50 by 75 cm. The frame is 66 by 92. You can order framed or unframed. The frame is black stained oak with museum glass and costs 3000nok. Edition of 3 and 1 AP.

Kraftwerk

A wooden batten block is the scale model of the space it is in. It’s positioned on the diagonal of the space in its largest possible scale.
The work is available as a print on Hahnemühle FineArt Baryta paper, mounted on Ibond. 40 by 60 cm in an edition of 3 and 1 A.P.

Horizont

Monolith

Two objects and a painting.
- A rock with a hand drilled hole in it.
- A casting of the hole in epoxy resin.
- A painting of the hole with pigments extracted from the drilling dust of making the hole.

Hole in one

On a sunny evening during the midnight sun on Storhaugen I climbed a huge pile of iron ore rocks. Grinded down over one century ago they are still waiting to be transported down to the be seperated and melted down. 
Now they’re now just lying here as a man made mountain being part of the natural landscape casting shadows as if the are pyramids in the desert in the evening sun.

A video work in edition of 8 (3'35")
The work is included in Høstutstillingen 2024
To see the complete video online see: https://michieljansen.nl/mountain-walk/ 

Mountain Walk

An aluminium coloured casting of the space which is revealed by splitting a rock.
Standing on a custom made black Valchromat plint.

Wedge

On Storhaugen and its surrounding mountains you can find many places where test diggings were made to find the best spot to start the quarry for iron mining. On the top of Reinhaugen I found a 93 meter trench, which is like scar on the mountain. One late evening I positioned myself on the north side of the trench casting a shadow on and over the trench. With this I connected the two sides like a stiching, healing the mountain with my shadow. As a result I became part of the healed mountain.

Colour photograph - edition of 3 + 1 AP (incl. oak frame with UV70 antirefleksglass )

One Stitch

It was a sunny day on June 26th when I walked up to Storhaugen for a two-day exploration and camping trip at Salangsverket mine and its surrounding area. I set up base camp on the foot of Reinhaugen from where I initiated my first project. I walked up to the Northern side of the top of Reinhaugen before midnight, where I erected a found wooden stick with the use of some stones. At exactly midnight I marked the end of the shadow that was cast by the stick with a white albite stone which I also found on top of the mountain. Every six hours I returned to the same spot and marked the shadow at those times. I documented each moment with a photograph.

4 prints of 60 by 90 on Hahnemuhle FineArt Baryta 300 Satin paper. The walnut frames with UltraView UV70 glass are an additional NOK3000 each.

24 hours on Reinhaugen

Iron ore rocks connected by small oak rods with magnets on both ends.

Molecule mountain

A silkscreen print with pigments from the actual stone on a three colour risoprint on 200 gr. Munken Pure paper. An edition of 24 and 2 AP. Comes without the frame, but  can offer the same frame as in the picture for NOK400. (Oak with float glass)

Temporary site specific installation in an abandoned soap factory in former Eastern Germany. Connecting the two windows through wooden battens, making taking space inside the building.
The work is available as a print on Hahnemühle FineArt Baryta paper, mounted on Ibond. 40 by 60 cm in an edition of 3 and 1 A.P.

Michiel Jansen

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