Pernille Kløvedal Helweg

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GALAPAGOS SPOR_f
2015

Teknik: Kobbertryk, ætsning, blødgrund, tusch
Format: 78,5 x 99 cm
GALAPAGOS SPOR_g
2015

Teknik: Kobbertryk, ætsning, blødgrund, tusch
Format: 78,5 x 99 cm
We know what a whale looks like. Say the word, and you see the picture. But, of course, that picture is also a stereotype, a form that prevents us from seeing quite openly because we are looking for what we know.
In the meeting with Pernille Kløvedal Helweg’s copper print, which rather than being a picture of form, is also a picture of weight, balance and skin, we can meet the whale in another way than the one we know, not as a picture of a form, but as corporeal presence.
Text: Mai Misfeldt from catalouge WHALES & WILD ANNIMALS 2011
PILOT WHALE IN ONE BLOW!
2011

Technique: Copper print, soft ground, cold needle
Paper format and plate size: 2 x 5 m
Paper: SSW 410 g
Impression: 5
PILOT WHALE_1
2011

Technique: Copper print, soft ground, cold needle
Paper format and plate size: 199,3 x 98,7 cm
Paper: SSW 410 g
Impression: 5
PILOT WHALE_1
2011

Technique: Copper print, soft ground, cold needle
Paper format and plate size: 199,3 x 98,7 cm
Paper: SSW 410 g
Impression: 5
PILOT WHALE_1
2011

Technique: Copper print, soft ground, cold needle
Paper format and plate size: 199,3 x 98,7 cm
Paper: SSW 410 g
Impression: 5
PILOT WHALE_1
2011

Technique: Copper print, soft ground, cold needle
Paper format and plate size: 199,3 x 98,7 cm
Paper: SSW 410 g
Impression: 5
PILOT WHALE_1
2011

Technique: Copper print, soft ground, cold needle
Paper format and plate size: 199,3 x 98,7 cm
Paper: SSW 410 g
Impression: 5
TOGETHER WE CAN LIFT A WHALE
2011

Technique: Copper print, soft ground, cold needle
Paper format and plate size: 199,3 x 98,7 cm
Paper: SSW 410 g
Impression: 2
PILOT WHALE_1

Detail
PILOT WHALE_2

Detail
PILOT WHALE_2

Detail
PILOT WHALE_2

Detail
PILOT WHALE_3

Detail
PILOT WHALE TAIL
2011

Technique: Copper print, soft ground, cold needle
Paper format and plate size: 199,3 x 98,7 cm
Paper: SSW 410 g
Impression: 5
PILOT WHALE TAIL

Detail
WHALE SKIN
2011

Technique: Copper print, soft ground, cold needle
Paper format and plate size: 199,3 x 98,7 cm
Paper: SSW 410 g
Impression: 5
WHALE SKIN

Detail
DOLPHIN BELLY
2009

Technique: Copper print, soft ground
Format: 100 x 60 cm
Paper: BFK Rieves 300 g
Impression: 1
SEAGULL TRACK
2011

Technique: Copper print, soft ground, feather, herring
Format: 54 x 98,5 cm
Paper: Haruki 34 g
Impression: 1
According to the Stoic philosopher, Lucretius, sense perceptions are imprints from the world that make an impression on the body. ”All objects send out impressions, airy forms thrown off by the outermost “skin” of things and completely alike them”. (On the Nature of Things). In the same breath Pernille Kløvedal Helweg’s ”animal tracks” are a graphic imprint that makes an impression. The animal has made its print, but what emerges is rather the foot’s gesture than its track – a sense perception that concerns the world.
Excerpt from an article by Alexander Carnera in the catalogue TRACKS & Tortoises in 2004.
POLAR BEAR_orange
2004

Technique: Copper print, soft ground, aquatint
Format: 147 x 97 cm
Paper: SSW 300 g
Impression: 3
According to the Stoic philosopher, Lucretius, sense perceptions are imprints from the world that make an impression on the body. ”All objects send out impressions, airy forms thrown off by the outermost “skin” of things and completely alike them”. (On the Nature of Things). In the same breath Pernille Kløvedal Helweg’s ”animal tracks” are a graphic imprint that makes an impression. The animal has made its print, but what emerges is rather the foot’s gesture than its track – a sense perception that concerns the world.
Excerpt from an article by Alexander Carnera in the catalogue TRACKS & Tortoises in 2004.
POLAR BEAR_green
2004

Technique: Copper print, soft ground, aquatint
Format: 72 x 112 cm
Paper: SSW 300 g
Impression: 3
According to the Stoic philosopher, Lucretius, sense perceptions are imprints from the world that make an impression on the body. ”All objects send out impressions, airy forms thrown off by the outermost “skin” of things and completely alike them”. (On the Nature of Things). In the same breath Pernille Kløvedal Helweg’s ”animal tracks” are a graphic imprint that makes an impression. The animal has made its print, but what emerges is rather the foot’s gesture than its track – a sense perception that concerns the world.
Excerpt from an article by Alexander Carnera in the catalogue TRACKS & Tortoises in 2004.
PENGUIN
2010

Technique: Copper print, soft ground, cold needle, aquatint, acid wash, chine collé
Plate size: 87,5 x 53,5 cm
Format: 111,5 x 71,5 cm
Paper: SSW 300 g / Impression: 4
According to the Stoic philosopher, Lucretius, sense perceptions are imprints from the world that make an impression on the body. ”All objects send out impressions, airy forms thrown off by the outermost “skin” of things and completely alike them”. (On the Nature of Things). In the same breath Pernille Kløvedal Helweg’s ”animal tracks” are a graphic imprint that makes an impression. The animal has made its print, but what emerges is rather the foot’s gesture than its track – a sense perception that concerns the world.
Excerpt from an article by Alexander Carnera in the catalogue TRACKS & Tortoises in 2004.
BROWN BEAR
2010

Technique: Copper print, cold needle, chin collé
Plate size: 94,5 x 57 cm
Format: 115 x 76,5 cm
Paper: Thai-gampi, hvid 85 g
Impression: 1
According to the Stoic philosopher, Lucretius, sense perceptions are imprints from the world that make an impression on the body. ”All objects send out impressions, airy forms thrown off by the outermost “skin” of things and completely alike them”. (On the Nature of Things). In the same breath Pernille Kløvedal Helweg’s ”animal tracks” are a graphic imprint that makes an impression. The animal has made its print, but what emerges is rather the foot’s gesture than its track – a sense perception that concerns the world.
Excerpt from an article by Alexander Carnera in the catalogue TRACKS & Tortoises in 2004.
MUSK RAT
2010

Technique: Copper print, soft ground, aquatint
Format: 146,4 x 97 cm
Paper: SSW 300 g
Impression: 3
According to the Stoic philosopher, Lucretius, sense perceptions are imprints from the world that make an impression on the body. ”All objects send out impressions, airy forms thrown off by the outermost “skin” of things and completely alike them”. (On the Nature of Things). In the same breath Pernille Kløvedal Helweg’s ”animal tracks” are a graphic imprint that makes an impression. The animal has made its print, but what emerges is rather the foot’s gesture than its track – a sense perception that concerns the world.
Excerpt from an article by Alexander Carnera in the catalogue TRACKS & Tortoises in 2004.
RHINOCEROS
2004

Technique: Copper print, soft ground, aquatint
Print on six plates in four colours
Format: 96,5 x 149 cm
Paper: SSW 300 g
Impression: 2
According to the Stoic philosopher, Lucretius, sense perceptions are imprints from the world that make an impression on the body. ”All objects send out impressions, airy forms thrown off by the outermost “skin” of things and completely alike them”. (On the Nature of Things). In the same breath Pernille Kløvedal Helweg’s ”animal tracks” are a graphic imprint that makes an impression. The animal has made its print, but what emerges is rather the foot’s gesture than its track – a sense perception that concerns the world.
Excerpt from an article by Alexander Carnera in the catalogue TRACKS & Tortoises in 2004.
LION TRACKS_I
2004

Technique: Copper print, soft ground, aquatint
Format: 29 x 37 cm
Impression: 1
According to the Stoic philosopher, Lucretius, sense perceptions are imprints from the world that make an impression on the body. ”All objects send out impressions, airy forms thrown off by the outermost “skin” of things and completely alike them”. (On the Nature of Things). In the same breath Pernille Kløvedal Helweg’s ”animal tracks” are a graphic imprint that makes an impression. The animal has made its print, but what emerges is rather the foot’s gesture than its track – a sense perception that concerns the world.
Excerpt from an article by Alexander Carnera in the catalogue TRACKS & Tortoises in 2004.
LION TRACKS_IV
2004

Technique: Copper print, soft ground, aquatint
Format: 29 x 37 cm
Impression: 1
According to the Stoic philosopher, Lucretius, sense perceptions are imprints from the world that make an impression on the body. ”All objects send out impressions, airy forms thrown off by the outermost “skin” of things and completely alike them”. (On the Nature of Things). In the same breath Pernille Kløvedal Helweg’s ”animal tracks” are a graphic imprint that makes an impression. The animal has made its print, but what emerges is rather the foot’s gesture than its track – a sense perception that concerns the world.
Excerpt from an article by Alexander Carnera in the catalogue TRACKS & Tortoises in 2004.
LION TRACKS_III
2004

Technique: Copper print, soft ground, aquatint
Format: 29 x 37 cm
Impression: 1
According to the Stoic philosopher, Lucretius, sense perceptions are imprints from the world that make an impression on the body. ”All objects send out impressions, airy forms thrown off by the outermost “skin” of things and completely alike them”. (On the Nature of Things). In the same breath Pernille Kløvedal Helweg’s ”animal tracks” are a graphic imprint that makes an impression. The animal has made its print, but what emerges is rather the foot’s gesture than its track – a sense perception that concerns the world.
Excerpt from an article by Alexander Carnera in the catalogue TRACKS & Tortoises in 2004.
LION TRACKS_IV
2004

Technique: Copper print, soft ground, aquatint
Format: 29 x 37 cm
Impression: 1
According to the Stoic philosopher, Lucretius, sense perceptions are imprints from the world that make an impression on the body. ”All objects send out impressions, airy forms thrown off by the outermost “skin” of things and completely alike them”. (On the Nature of Things). In the same breath Pernille Kløvedal Helweg’s ”animal tracks” are a graphic imprint that makes an impression. The animal has made its print, but what emerges is rather the foot’s gesture than its track – a sense perception that concerns the world.
Excerpt from an article by Alexander Carnera in the catalogue TRACKS & Tortoises in 2004.
LION TRACKS_V
2004

Technique: Copper print, soft ground, aquatint
Format: 29 x 37 cm
Impression: 1
According to the Stoic philosopher, Lucretius, sense perceptions are imprints from the world that make an impression on the body. ”All objects send out impressions, airy forms thrown off by the outermost “skin” of things and completely alike them”. (On the Nature of Things). In the same breath Pernille Kløvedal Helweg’s ”animal tracks” are a graphic imprint that makes an impression. The animal has made its print, but what emerges is rather the foot’s gesture than its track – a sense perception that concerns the world.
Excerpt from an article by Alexander Carnera in the catalogue TRACKS & Tortoises in 2004.
LION
2004

Technique: Copper print, soft ground, cold needle, aquatint
Print from two plates in six colours
Format: 146,4 x 97 cm
Paper: SSW 300 g
Impression: 3
According to the Stoic philosopher, Lucretius, sense perceptions are imprints from the world that make an impression on the body. ”All objects send out impressions, airy forms thrown off by the outermost “skin” of things and completely alike them”. (On the Nature of Things). In the same breath Pernille Kløvedal Helweg’s ”animal tracks” are a graphic imprint that makes an impression. The animal has made its print, but what emerges is rather the foot’s gesture than its track – a sense perception that concerns the world.
Excerpt from an article by Alexander Carnera in the catalogue TRACKS & Tortoises in 2004.
SNAKES
2004

Technique: Copper print, soft ground, aquatint
Print from two plates in six colours
Paper size: 96,6 x 133,2 cm
Paper: SSW 300 g
Impression: 3
The first time I saw Pernille’s prints of animal tracks, it was with a feeling of immediate recognition from the mornings in Africa looking for tracks. Imagine if the hunters I was with had been able to see these prints of lion, elephant, giraffe tracks, etc. I wonder what they could have read out of them. Because, after all, it is not the tracks that are the important thing. It is the movement, captured just there, that really opens up the potential in the prints.
Text: Arthur Krasilnikof, from the article REMEMBERING WITH YOUR FEET from the catalogue WHALES & WILD ANNIMALS 2011.
LITTLE IDA'S FOOT_ blue
2010

Technique: Copper print, soft ground, chine collé
Format: 92 x 78 cm
Paper size: Thai – gampi
Impression: 2
The first time I saw Pernille’s prints of animal tracks, it was with a feeling of immediate recognition from the mornings in Africa looking for tracks. Imagine if the hunters I was with had been able to see these prints of lion, elephant, giraffe tracks, etc. I wonder what they could have read out of them. Because, after all, it is not the tracks that are the important thing. It is the movement, captured just there, that really opens up the potential in the prints.
Text: Arthur Krasilnikof, from the article REMEMBERING WITH YOUR FEET from the catalogue WHALES & WILD ANNIMALS 2011.
LITTLE IDA'S FOOT_ green
2010

Technique: Copper print, soft ground, chine collé
Format: 92 x 78 cm
Paper size: Thai – gampi
Impression: 2
The first time I saw Pernille’s prints of animal tracks, it was with a feeling of immediate recognition from the mornings in Africa looking for tracks. Imagine if the hunters I was with had been able to see these prints of lion, elephant, giraffe tracks, etc. I wonder what they could have read out of them. Because, after all, it is not the tracks that are the important thing. It is the movement, captured just there, that really opens up the potential in the prints.
Text: Arthur Krasilnikof, from the article REMEMBERING WITH YOUR FEET from the catalogue WHALES & WILD ANNIMALS 2011.
LITTLE IDA'S FOOT_ pink
2010

Technique: Copper print, soft ground, chine collé
Format: 92 x 78 cm
Paper size: Thai – gampi
Impression: 2
The first time I saw Pernille’s prints of animal tracks, it was with a feeling of immediate recognition from the mornings in Africa looking for tracks. Imagine if the hunters I was with had been able to see these prints of lion, elephant, giraffe tracks, etc. I wonder what they could have read out of them. Because, after all, it is not the tracks that are the important thing. It is the movement, captured just there, that really opens up the potential in the prints.
Text: Arthur Krasilnikof, from the article REMEMBERING WITH YOUR FEET from the catalogue WHALES & WILD ANNIMALS 2011.
LITTLE IDA'S FOOT_ yellow
2010

Technique: Copper print, soft ground, chine collé
Format: 92 x 78 cm
Paper size: Thai – gampi
Impression: 2
According to the Stoic philosopher, Lucretius, sense perceptions are imprints from the world that make an impression on the body. ”All objects send out impressions, airy forms thrown off by the outermost “skin” of things and completely alike them”. (On the Nature of Things). In the same breath Pernille Kløvedal Helweg’s ”animal tracks” are a graphic imprint that makes an impression. The animal has made its print, but what emerges is rather the foot’s gesture than its track – a sense perception that concerns the world.
Excerpt from the article The Rhythm of the Track by Alexander Carnera in the catalogue TRACKS & Tortoises in 2004.
ELEPHANT
2004

Technique: Copper print, soft ground, koldnål, aquatint
Print from two plates in four colours
Paper size: 228 x 100 cm
Paper: SSW 300 g
Impression: 3
According to the Stoic philosopher, Lucretius, sense perceptions are imprints from the world that make an impression on the body. ”All objects send out impressions, airy forms thrown off by the outermost “skin” of things and completely alike them”. (On the Nature of Things). In the same breath Pernille Kløvedal Helweg’s ”animal tracks” are a graphic imprint that makes an impression. The animal has made its print, but what emerges is rather the foot’s gesture than its track – a sense perception that concerns the world.
Excerpt from the article The Rhythm of the Track by Alexander Carnera in the catalogue TRACKS & Tortoises in 2004.
INDIAN ELEPHANT_b
2004

Technique: Copper print, soft ground, koldnål, aquatint
Format: 103 x 100 cm
Impression: 1
Pernille Kløvedal Helweg’s interest in capturing the tortoise’s gait stems from a different way of visualising the animal’s essence. It is not a scientific and correct registration the artist is looking for but a different form of insight and visualisation. It is a way of making the non-visible visible and an exploration of what happens when one moves from one dimension to another. From the physical space of reality to the flat surface of the paper.
Text: Mai Misfeldt, from catalouge HVALTEGN & DYRESPOR
GALAPAGOS TORTOISE
2004

Technique: Copper print, soft ground, acid wash, aquatint
Paper size: 97 x 214 cm
Paper: SSW 300 g
Impression: 3
Pernille Kløvedal Helweg’s interest in capturing the tortoise’s gait stems from a different way of visualising the animal’s essence. It is not a scientific and correct registration the artist is looking for but a different form of insight and visualisation. It is a way of making the non-visible visible and an exploration of what happens when one moves from one dimension to another. From the physical space of reality to the flat surface of the paper.
Text: Mai Misfeldt from catalouge WHALES & WILD ANNIMALS 2011
GALAPAGOS TORTOISE_c
2004

Technique: Copper print, soft ground, charcoal, rubber
Format: 106 x 83 cm
Impression: 1
Pernille Kløvedal Helweg’s interest in capturing the tortoise’s gait stems from a different way of visualising the animal’s essence. It is not a scientific and correct registration the artist is looking for but a different form of insight and visualisation. It is a way of making the non-visible visible and an exploration of what happens when one moves from one dimension to another. From the physical space of reality to the flat surface of the paper.
Text: Mai Misfeldt from catalouge WHALES & WILD ANNIMALS 2011
GALAPAGOS TORTOISE_d
2012

Technique: Copper print, soft ground, aquatint
Plate size: 78,5 x 99 cm
Paper size: 97 x 118 cm
Paper: SSW 300 g
Impression: 2
Pernille Kløvedal Helweg’s interest in capturing the tortoise’s gait stems from a different way of visualising the animal’s essence. It is not a scientific and correct registration the artist is looking for but a different form of insight and visualisation. It is a way of making the non-visible visible and an exploration of what happens when one moves from one dimension to another. From the physical space of reality to the flat surface of the paper.
Text: Mai Misfeldt from catalouge WHALES & WILD ANNIMALS 2011
GALAPAGOS TORTOISE_e
2012

Technique: Copper print, soft ground, aquatint
Plate size: 78,5 x 99 cm
Paper size: 97 x 118 cm
Paper: SSW 300 g
Impression: 2
Pernille Kløvedal Helweg’s interest in capturing the tortoise’s gait stems from a different way of visualising the animal’s essence. It is not a scientific and correct registration the artist is looking for but a different form of insight and visualisation. It is a way of making the non-visible visible and an exploration of what happens when one moves from one dimension to another. From the physical space of reality to the flat surface of the paper.
Text: Mai Misfeldt from catalouge WHALES & WILD ANNIMALS 2011
TORTOISE WHITE ON WHITE_b
2006

Technique: Copper print, soft ground, zincography
Plate and paper size: 83 x 106 cm
Paper: SSW 300 g
Impression: 1
Pernille Kløvedal Helweg’s interest in capturing the tortoise’s gait stems from a different way of visualising the animal’s essence. It is not a scientific and correct registration the artist is looking for but a different form of insight and visualisation. It is a way of making the non-visible visible and an exploration of what happens when one moves from one dimension to another. From the physical space of reality to the flat surface of the paper.
Text: Mai Misfeldt from catalouge WHALES & WILD ANNIMALS 2011
TORTOISE WHITE ON WHITE_a
2006

Technique: Copper print, soft ground, zincography
Plate and paper size: 83 x 106 cm
Paper: SSW 300 g
Impression: 1
VESTIGIA TERRENT/SPORERNE SKRÆMMER
2007

Technique: Copper print, soft ground, cold needle
Plate and paper size: 56,5 x 77 cm
Paper: SSW 300 g
Impression: 5
YOUR INNERMOST TORTOISE
Published at Rhodos and later at Gyldendal in 2002.
New edition at Nymølle, 2015
Text and 42 etchings by Pernille Kløvedal Helweg

From the book: A leading scholar (some say Bertrand Russell) held a public lecture about astronomy. He described how the earth circles the sound and how the sun circles an immeasurable number of stars in our galaxy. At the end of the lecture a little old lady at the back stood up and said: "What you just said is rubbish. The Earth is in fact a flat plate, resting on the cack of a giant tortoise". The scholar smirked before answering: "And what then madam is the tortoise resting on?"
"Very smart young man" said the old woman, "There are of course tortoises all the way down!"
9/11 2001 PART I
YOUR INNERMOST TORTOISE
Published at Rhodos and later at Gyldendal in 2002.
New edition at Nymølle, 2015
Text and 42 etchings by Pernille Kløvedal Helweg

From the book: A leading scholar (some say Bertrand Russell) held a public lecture about astronomy. He described how the earth circles the sound and how the sun circles an immeasurable number of stars in our galaxy. At the end of the lecture a little old lady at the back stood up and said: "What you just said is rubbish. The Earth is in fact a flat plate, resting on the cack of a giant tortoise". The scholar smirked before answering: "And what then madam is the tortoise resting on?"
"Very smart young man" said the old woman, "There are of course tortoises all the way down!"
A ROOM WITH A VIEW
YOUR INNERMOST TORTOISE
Published at Rhodos and later at Gyldendal in 2002.
New edition at Nymølle, 2015
Text and 42 etchings by Pernille Kløvedal Helweg

From the book: A leading scholar (some say Bertrand Russell) held a public lecture about astronomy. He described how the earth circles the sound and how the sun circles an immeasurable number of stars in our galaxy. At the end of the lecture a little old lady at the back stood up and said: "What you just said is rubbish. The Earth is in fact a flat plate, resting on the cack of a giant tortoise". The scholar smirked before answering: "And what then madam is the tortoise resting on?"
"Very smart young man" said the old woman, "There are of course tortoises all the way down!"
A SONG FROM THE BALCONY
YOUR INNERMOST TORTOISE
Published at Rhodos and later at Gyldendal in 2002.
New edition at Nymølle, 2015
Text and 42 etchings by Pernille Kløvedal Helweg

From the book: A leading scholar (some say Bertrand Russell) held a public lecture about astronomy. He described how the earth circles the sound and how the sun circles an immeasurable number of stars in our galaxy. At the end of the lecture a little old lady at the back stood up and said: "What you just said is rubbish. The Earth is in fact a flat plate, resting on the cack of a giant tortoise". The scholar smirked before answering: "And what then madam is the tortoise resting on?"
"Very smart young man" said the old woman, "There are of course tortoises all the way down!"
MIRACLE AT AMALFI
YOUR INNERMOST TORTOISE
Published at Rhodos and later at Gyldendal in 2002.
New edition at Nymølle, 2015
Text and 42 etchings by Pernille Kløvedal Helweg

From the book: A leading scholar (some say Bertrand Russell) held a public lecture about astronomy. He described how the earth circles the sound and how the sun circles an immeasurable number of stars in our galaxy. At the end of the lecture a little old lady at the back stood up and said: "What you just said is rubbish. The Earth is in fact a flat plate, resting on the cack of a giant tortoise". The scholar smirked before answering: "And what then madam is the tortoise resting on?"
"Very smart young man" said the old woman, "There are of course tortoises all the way down!"
THE HEALTH SERVICE
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