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With support from Konstnärsnämnden / Iaspis / Swedish Arts Grants Committee.
fotogalleriet.no/exhibition/victoria-verseau

Courtesy Julie Hrnčířová/Fotogalleriet.

‘The Catwalk dept. 8’, linoleum.
’5,6,7,8,9 inches 12,14,16,18,20 centimeters’, sculpture scrystal, 2019 -. 

“The work of Victoria Verseau is novel and evocative. Still, it also insertsitself in a long 
tradition of art and photography history that, since at least the 1850s explored images as dreams, 
nightmares, and aspirations, connecting identity formation to social structures inconscious and 
unconscious ways. She explores worlds of emotions, ambitions, and lived experiences we have 
interiorized in Modernity through Freud and the likes with whom we have learned to experienceas 
individualized subjects stream of the interior world. Her artworks activate unconscious feelings, 
which render images of suppressed fears and emotions tangible, addressing the vulnerability of 
dreamlike spaces, juxtapositions of subjects, and imagery. Victoria Verseau expresses different 
forms of freedom by guiding us into domestic and intimate aesthetics, opening spaces for demonstrating 
in dependence and imagination in contrast to medical, architectural, and conformist standards. 
Her storytelling moves between small towns and urban centers, ideal spaces of our contemporaneity, 
and spirals into a great network of conjunctive disciplines, bodies, and countries.” 

- Antonio Cataldo, director Fotogalleriet Oslo.

‘Honset Sketches / Sketch #194, sketch #2011’, 1998 -.

Architectural drawing designed for the exhibition. 
The architecture is inspired by the architecture of mausoleums with narrow passages and hidden rooms.

’5,6,7,8,9 inches 12,14,16,18,20 centimeters’, sculpture scrystal, 2019 -.

I specifically designed the architecture for the exhibition, drawing inspiration from mausoleums, with 
their narrow passages and hidden rooms. The exhibition served as both a commemoration and a personal 
journey through the grief following the loss of my best trans friend, Meril.

The first room visitors encountered was bright and minimalistic, featuring only a 13-meter-long podium 
with a sculptural work leading toward a dark doorway.Upon entering the portal, visitors were guided 
through a narrow passage into the deeper, darker spaces. 

In the second room, where a video work was displayed, two narrow doorways led to small passages that opened
into two separate, partially hidden rooms—one illuminated by purple UV light, the other by red neon.

The fifth and final room stood out for its experimental and messy aesthetic, in contrast to the minimalism 
of the earlier rooms. It showcased a multitude of collected objects arranged on platforms, lit by 
fluorescent light.

The inner room.
‘A Ghost’s Gaze’, video, 2019 - 2022.

Leading passage to one of the hidden room #1.

Hidden room #1.
UV light, acrystal sculptures.
‘Trāns Pelvis Os.’, 2022.

Hidden room #2.
Red neon light, plaster/acrystal sculptures.
‘The Body Shells’, 2021 - 2022.


The Side room.
One of the five rooms that was created for the exhebition.
The other rooms were more minimalistic and "clean". In this room I wanted it to be more messy and 
experimental, almost like a studio where finished and unfinished works and processes were going on.
An investigative manner. A plentitude of collected (hoarded) objects were placed on square plexi- 
and linoleum platforms. Some of them lit by fluorescent lamps from below resembled light tables. 
I thought of the light tables on which x-rays prints are placed in hospitals, to see bone fractures, 
tumors etc. Things that occur, grow and change with time. I see all the collected objects as a kind of
materialization of time, an ever-growing collection, a way of trying to capture what is irrevocably 
gone and impossible to regain. The "light tables" were switched off and on at different intervals, creating 
a rhythm, a kind of count indicating the passage of time

‘Remnants 2010 -’.

‘Remnants 2010 -’.

‘Remnants 2010 -’.

Hidden space inside the wall.
‘Remnants 2010 -’.

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