Tove Storch’s (b. 1981, Denmark) artistic project can be viewed as a continuous investigation of sculptural possibilities. Her works challenge the viewer’s perception of space and reality, posing questions about what sculpture is and what it can do. Combining a tight minimal expression with delicate, fragile materials, her works give physical shape to complex reflections on form, time, and space. Her mode of expression is positioned between the strictly formal and something directly connected to the body and emotions.

With tight precision, drawings are stacked and laid in spans between raw bars in sharp-edged steel. Only the drawing at the top is fully visible, while the others can be seen only in glimpses through the sides. Organized in layers like an archival act, the drawings transform into objects or sub-components of a larger system rather than actual depictions of something concrete. This act is the artist’s trademark, reflecting a general interest in the difference between storing content and carrying importance. Balanced between image and sculpture, the work appears as a hermetic mass of accumulated time and space, of impressions and expressions.

Instead of making a specific statement, the work establishes a formal and non-binding structure for the continuous production of drafts of reality, allowing room for both errors and corrections. Storch elegantly addresses how we understand an image by changing the perspective from which it is usually seen hanging on the wall and reorganizing it into a sculptural form, making the movement and process of being and thinking visible to the viewer.