art statement

‘WHITE COWS’

THE THEME:
One of the cultural differences between Copenhagen and Los Angeles: The self aggrandizement 
of women in LA.
It is not a new phenomenon, that women demand attention. Attention often gives an economic 
advantage. LA most of all, is a city controlled by the brutal force of financial gain, and a social 
and financial security network is virtually non existent, unless one is wealthy! 
Female beauty is a wealth magnet, as well as a status symbol. Women in LA ( all kinds of 
nationalities ) emulate media stars as the 'Figure Magnifique' of mythology. 
           
THE FALLACY:
The fashion and film industry induces the belief, that thin girls are the real representatives of 
beauty. A rather narrow minded ideal. The degeneration of natural beauty is far more obvious in 
LA, the city of celebrities and wannabes, as girls here are typically smaller in their body 
measurements, than their counterparts in Europe: A new Danish trend is to expose mannequin 
dolls in storefronts, with sizes has grown from a 34 to 38. 
           
THE MANIA:
The essence of the painting ‘White Cows’, is a culmination of an observation and research into 
the thematic of female beauty in modern media and fashion in Los Angeles, Copenhagen and 
Europe in general.            
The content of the painting consists of images inserted into a conceptually designed space, the 
painted area. In the digitally designed, and in the hand drawn images within the painting, the 
intention is to evoke/visualise flickering images, backgrounds and or particular locations! 

This painting is a new subtract derived from an idea of a serie of 5 empty storefront concept 
installations, that was created based on fashion, culture & The Hall of the Axes in Copenhagen, 
1996 ( see installations and objects). These flickering images or films, are of nanotech equipment 
for life extending and body-beautiful surgery, future dna manipulation, and even axes of a 
slaughterhouse.            
A comment on female beauty and the methods and extent used, to which people will go to in 
order to achieve this: Beauty conquers everything - and beauty equivocates with success. 
           
THE THIRST:
Across the painting, there are rows of identical catwalk mannequins, posing in continuous 
repetitive movements, reminding of the march of a fascist parade. 
The mannequins stand still, a Bertolt Brechtian tableaux vivant. A black conveyor belt propels the 
girls, all dressed in cow skin, through the room. The floor beneath the conveyor belt is drenched in 
blood: The slaughterhouse!
The theme of twins represents here the idea, that women also mirror themselves in each others 
narcississtic adoration/competition. 
The colorscheme of the painting has conscious movement from light to dark, and from the left to 
the right: The concept of political progression in western society. The color palette is very feminine 
and deliberately misty; the location of a polluted place, where it constantly rains blood and milk...

  
THE RESULT:
... A parallel on the subject of being a woman in LA, and a meat market. Therefore the title, 
"WHITE COWS".

  
THE REASON:
The painting was painted as an anticommercial for a fashion week in Copenhagen, which was located 
in a former slaughterhouse, where the particular location was called The Hall of the Axe. How ironic is 
that!