Exhibitions

Infinite Pollination Andersen’s is pleased to introduce Infinite Pollination, Cecilia Fiona’s second solo exhibition with the gallery. In this new body of work, Fiona explores the symbiosis of life, both human and non-human, within a vast cosmic ecosystem. Through sculpture, performance, and painting, this exhibition invites viewers to reconsider the boundaries between body, cosmos, and the interconnected threads that weave life together. The exhibition is anchored in the concept of pollination—not just as a biological act, but as a metaphor for the interconnectedness of all things. Our bodies are like galaxies, home to countless microorganisms, open vessels where cycles are shared, crossed, and transformed across species and planetary systems. It is within this exchange, this pollination, that life itself continuously unfolds and evolves. The exhibition includes a live performance, Infinite Pollination, where a performer— dressed in one of the artist’s intricately sewn and painted costumes—moves among the sculptures, embodying the role of a cosmic pollinator. Carrying souls and creatures between worlds, the performer breathes movement and life into the works, as its voice—a fundamental instrument—resonates through the space. Through this act, the sculptures, some of which have movable parts, come alive as it transports their spirits across galaxies, blurring the boundaries between worlds, bodies, and times. Indtil pilen rammer (og natten føder en sol) (Until the Arrow Strikes (and the Night Births a Sun)) presents a spine pierced by an arrow, invoking Amor’s arrow from alchemical symbolism, where the merging of two elements sparks transformation. Here, love transcends mere emotion, becoming an elemental force that weaves the universe together, driving the cycles of movement and change. The twin themes of merging and transformation recur throughout the exhibition, most notably in Moons Merging, a wall sculpture where two beings entwine in an eternal embrace, their tails forming a DNA strand. In this work, the DNA itself becomes a symbol of love, its double helix held together by the connection of the two figures. The title refers to an astronomical event, the presence of two moons orbiting Earth—a temporary phenomenon that mirrors the transient yet significant moments of union and transformation. In She Knew herself a Galaxie the artist presents a large dark blue sculpture, depicting a creature carrying within it countless smaller beings. Its body is a crater, a sea, a galaxy—a vessel containing multitudes. This work explores the concept of the body as an ever- changing universe, a vessel that holds within it endless possibilities for creation and life. The concept also connects with the artist’s earlier sculpture, Twin Earth (I Inside the Vessel), as both sculptures embody a crater-like form, resembling oceans or womb-like bodies, with other beings dwelling within. A sense of cosmic origin and cyclical renewal imbues Protector of the Egg (It All Starts with 0). A pastel pink sculpture stands guard over a small egg nestled in a pile of soil, invoking both the number 0 and the symbol of the egg as a representation of nothingness and the beginning of everything. The circular form of 0 is central to the artist’s exploration of life cycles and cosmic regeneration, suggesting that creation is an eternal loop, with no clear beginning or end. The large painting Infinite Pollination presents an ambiguous space. Are we inside a body, or moving through the infinite vastness of outer space? Perhaps both. Threads of fate and pollen intertwine with stamen and the traces of long-forgotten species, creating a visual and conceptual link between past and future, micro and macro. The painting draws inspiration from particle collision imagery, where the movement of the smallest elements of the universe is captured in time and space. This collision of particles becomes a metaphor for the interactions between the universe and our own bodies—each collision, each pollination, bringing forth new life. Infinite Pollination reimagines our role within the cosmos, proposing that we are not merely inhabitants of Earth, but active participants in an ongoing process of transformation. Through the artist’s lens, pollination becomes an act of creation, of life-giving exchange, that transcends species, bodies, and time. 24 Oct– 23 Nov 2024 Solo show

If This Is Paradise, I Wish I had a Lawnmower Adham Faramawy, Cecilia Fiona, Jen O’Farrell There was a shopping mall Now, it’s all covered with flowers You got it, you got it If this is paradise I wish I had a lawnmower You got it, you got it – Talking Heads ‘(Nothing But) Flowers’ The 1988 song ‘(Nothing But) Flowers’ by Talking Heads envisages a post-Anthropocene world where human activity no longer is the dominant influence on the world. Flowers grow where shopping malls once were, mountains and rivers stand where a factory was. Daisies cover the site of a former Pizza Hut. Yet our narrator is maudlin; what he really wants, is a burger. What he has though, is a rattlesnake for dinner. Despite our narrator’s ambivalence, it is clear that the song was a riposte to consumerist culture that was dominating the West at the time and would continue to do so up until the present – the accompanying music video features text about rates of deforestation and the increase in production of toxic waste. The song might be seen as a piece of subtle, measured and even wry agit-prop. This nuanced strand of thinking about environmental thinking can today be seen in re-wilding campaigns, purpose disruptors, collaborative community projects and artistic and creative thinking. All these strategies often accept that the strategic use of more direct action is useful but point towards more complex ways of re- thinking humanity’s relationships with the world around them. There is also an important caveat in some of these approaches – this is not a call for a return to a pre-lasparian world (we still might crave a burger) but a reaching towards an intertwining, of nature, humanity (and everything it has done) and what was thought to be separate or external from humanity. In the exhibition “If this is paradise, I wish I had a lawnmower” Adham Faramawy, Cecilia Fiona, and Jen O’Farrell exhibit works which evoke a world where the boundaries between bodies, species and landscapes are porous, shifting and in constant negotiation. These are works that quietly refute the prevailing conception of the human subject in Western thinking up until now, that the human is always a separate entity, to be considered apart and above other species and ecosystems. Instead of this way of thinking this exhibition proposes that the world around us is less of a backdrop and more of an at least equal protagonist; not separate but co-constitutive of our being in the world. The prevalence of wall-based and floor-based sculptural works through the show offer a sense of the tactile that is suggestive of one of the themes that runs through the exhibition; that of the ethics of entanglement. This framework insists on the interconnectedness of human and nonhuman entities which includes animals and ecosystems but also includes objects and technologies associated with industrialisation and post- industrialisation. The surfaces of Faramawy’s works include technological detritus such as stray mobile phones and wires embedded on surfaces which depict rough earth, rock and stone. O’Farrell’s work brings together textures and surfaces that are suggestive of forests and the earth but also the urban and constructed. Meanwhile Fiona’s practice, encompassing painting, sculpture and performance invites viewers to consider how their own identities are interwoven with the wild and fantastical. Each of the artists’ works poses questions about where the body’s boundaries are in relation to its surroundings. Instead of the clear division that prevailing Anthropocene thinking has assumed, there is the more complex division that is alluded to in Faramawy’s series title ‘The stickiness of an unclean break’. Connections stubbornly remain despite the desire for a clean break. This might the human subject’s desire to separate from the landscapes around them, from other living organisms, or indeed from each other through a process of deeming certain groups other. This desire is doomed to fail; instead bodies and identities are indelibly linked to what surrounds them whether that is ecologies or other people. Our subjectivities blur in and out of each other and what surrounds us, always sticky and messy to the frustration of those who want to assert clean boundaries, borders and differences. Fiona’s work might also be understood as depicting the hybridity of being. The result of hybridity is a move away from essentialism to a sense of an ongoing sense of the interconnected with other people, histories and ecologies but also a wider connection with forces that could be mythical but might also well be quantum realities (or indeed both). Boundaries are momentary, their supposed fixity nothing more than an apparition that hides a state of flux and transformation. Transformation and interconnectedness are made manifest in the www.niruratnam.com Niru Ratnam surfaces and materiality of Fiona’s work, as they are with Faramawy’s and O’Farrell’s. With the latter, interconnectedness is also architectural – motifs within the work gesture towards the built environment and urban environments as much as more ancient landscapes such as woodland. Within that relationship is the question of how landscape has been transformed by human activity into the urban but also, vitally, the implication that this process might go the other way. This was a shopping mall, now it’s all covered with flowers. Landscape and human agency are interwoven in O’Farrell’s works, memory and history fused with layers of rock and soil. ‘If this is paradise….’ is an exhibition that insists on the lived encounter with what surrounds us and an exploration of what a new conception of intimacy might be through thinking about that process of perpetual interaction. Intimacy becomes a form of ecological resistance where we allow ourselves to reach out, touch and intertwine with phenomena which are no longer categorised as ‘non-human’ but instead perhaps as ‘more-than- human’. It is an exhibition that is against fixity, that instead revels in sites of encounter that are in turn fragile, entangled fugitive and joyously alive. Read more 6 June – 12 July 2025 Group Show  Adham Faramawy, Cecilia Fiona, Jen O’Farrell

Ghost Flower Ritual Ghost Flower Ritual is a multi-sensory and interdisciplinary artwork created by Danish visual artist Cecilia Fiona in collaboration with Danish composer Sophie Søs Meyer performed by musicians from the classical ensemble Athelas Sinfonietta Copenhagen. Ghost Flower Ritual brings together visual art, music and performance in a sensuous ritual that explores transience and the power of transformation in the face of today’s biodiversity crisis. The work is inspired by an alchemical myth of a flower that burns and rises from its own ashes.  Cecilia Fiona has transformed CC’s Hall 6 into a magical landscape where architecture, paintings, sculptures and costumes come together in a living scenography of materials, colours and textures. The installation is brought to life through a series of live concert performances, in which Sophie Søs Meyer and the musicians from Athelas Sinfonietta activate the work with sound and music, while Cecilia Fiona’s sculptures and costumes are taken over by performers. The audience is invited to enter an occult ritual where flower spirits, the biodiversity crisis, and hopes for resurrection are woven together in a sensory and ceremonial experience. April 2025 Solo Show