Anne-Sophie Øgaards work addresses the boundaries that lie between sculpture and painting. To explore which possibilities emerge where painting ends and where sculpture begins. Sculpture holds the possibility of magic; things can appear or disappear depending on where you stand in relation to the work. Paintings do not function like this; no matter where you stand, the painting will always look essentially the same. That relationship is a source of inquiry in how her paintings are conceived, perceived, received by the audience as well as how it addresses the space. Where light, form and colour become a subject matter not only for how light functions, but for the light itself. When we talk about how ideas are constructed, for Øgaard it is the «architecture» of her thoughts. Reducing forms to basic elements. The interplay between the additive and subtractive, the making and unmaking, constitutes the essence of her work. Using materials such as paint, sand, cement and plaster, where deconstruction and reconstruction of the surface goes beyond the subjective form of the original intended image. She appropriates paint conceptually as her “own paint”. The value of a monochrome painting becomes a strategy or a technique where Its self-imposed limitations are often regarded as demanding or difficult, she finds it makes her work quite alive and accessible.