Conceptual nominee

I have worked with a series of triple exposures, taken from the shore to the sea, on Jomfruland (Virgin Land). The camera is in a fixed place through all the exposures, and the images will therefore, at first glance, be misleading. But gradually one will notice that they are made up of several layers with cloud formations and wave patterns. The time intervals between exposures are determined by an anemometer - maintaining the objective approach customary in my photography.

At Jomfruland I also went on the same trip thirty times, where fifteen trees were photographed. The film was rewound, and the trees were photographed again. The developed film roll, presented an intertwined forest panorama, where the repetitive processes left their mark - much like the forces of nature have been given visual leeway in my previous works. The way the pictures are structured reflects the way the terminal moraine Jomfruland is built up in layers, and over time.

Brodersen lives and works in car-free Lyngør, where he has grown up as the twelfth generation. Ole's father is a sailmaker, his grandfather was a sailor, and as a child Ole rowed to school – later also circumnavigating the Atlantic Ocean in a pilot cutter built in 1894. Everyday life in Lyngør is closely connected with and influenced by the sea, which further provides substance and background for his pictorial experiments.

Ole's work has in recent years been shown in Boston, Paris, New York, Los Angeles and Vancouver. The New Yorker and Harper's Magazine have written about his work.

Like his master Dag Alveng (i.a. Moma and Met), Ole works with large format film. He has built a darkroom on the island and makes large (up to 150cm x 120cm) mural silver gelatin fibre prints that are wet-mounted on aluminum. The frames are made by a local boat builder.