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The works presented at IPMA continue Henriette Sabroe Ebbesen’s exploration of the human body, perception and the limits of photographic reality. Working with mirrors and other reflective materials placed between the camera, the body and its surroundings, she fragments, extends and multiplies forms within the frame, making recognisable bodies and landscapes appear unfamiliar. These distortions are created physically during the photographic process rather than generated through digital image manipulation.
Nude bodies, nature, water, rocks, fruit and other familiar elements encounter their own reflections. Proportions shift and the relationship between body and environment becomes unstable, allowing the photographs to approach collage or painting while remaining grounded in a scene that exists in front of the camera.
Ebbesen describes her works as small experiments in how the human body, psyche and world are visualised and interpreted depending on the mind and gaze of the viewer. Here, the mirror is not merely a visual effect but an optical tool that changes what the camera is able to register. The photographs ask where familiar reality ends and its transformation begins, and how much of what we see depends on our own position as viewers.