Dev Dhunsi Glimpses: Behind the Curtain
2025
Louise Evensen Herreira: Unit6
2025 Aluminium
Thyra Dragseth:
echo looped looped echo
2025
26:30 min
Two channel video installation
Full HD/ 4K
Thyra Dragseth:
Doors (O)
2025 C-print
Aluminium, steel chains
Thyra Dragseth (b.1993, Copenhagen) is a Norwegian artist based between Oslo and Lisbon. She holds an MFA from the National Academy of Arts Oslo. Dragseth works multidisciplinary with photography, film, sound, text, and installation. Her practice is rooted in feminist ideology. It is preoccupied with investigations of societal roles, and inter personal, and professional relationships. Leaning on autobiographical traditions, her work critically engages in questions of truth and perception. Recent solo and group exhibitions include; Candyland, Stockholm (2025); Gallery K4, Oslo (2025); Pachinko, Oslo (2024); OSTRA Practice, Lisbon (2024); Kristiansand Kunsthall (2023); Sol Nexø, Bornholm (2023), and MELK Gallery, Oslo (2021).
In her film echo looped looped echo Dragseth reflects upon heritage and addiction: as phenomenon; as disease; and as complex generational pattern, often related to people in vulnerable and precarious life trajectories. The film’s images shift between surreal, metaphorical images, handheld footage and sequences in which she and her father reads letters to each other. Dragseth proposes in the work that addiction is a source of an inward “twoness,” of two you’s battling. It is an experience of living with a split and fragmented self that can lead to egodystonic thoughts or behaviours, like dreams, compulsions, or desires that come into conflict with one’s ideal self. Mirroring, as motif and method is explored in various forms throughout the work. The sound is composed of ambient music made with Marco Antão, and music from the album Crispy Light by Portuguese artist Adriana João. Animation is made with the Norwegian artist Tim Høibjerg. Letters are written and read with her father, Terje Dragseth.
Dev Dhunsi (b. 1996) is a Norwegian-Indian artist working across photography, textiles, moving image, and archives. His practice explores the instability of identity, weaving together personal narratives with the histories of racial classification, migration, and hybridity. By shifting between documentary fragments and staged encounters, Dhunsi creates poetic disruptions in how belonging is imaged and understood. He lives and works between Oslo and India.
Glimpses Behind the Curtain offers an intimate preview of Dev Dhunsi’s forthcoming project, set to launch as a photobook and international exhibitions in 2026. Drawn from the margins of the editing process, these outtakes reveal fragments that hover between inclusion and omission — images that carry the pulse of the work without settling into its final form. In doubled figures, mirrored surfaces, and bodies dissolving into light, the photographs echo the projects’ central concerns: the legacies of racial classification, the instability of identity, and the poetic charge of hybridity. They are less finished statements than fugitive gestures, moments that refuse to resolve yet insist on being seen. By stepping momentarily “behind the curtain,” viewers encounter the vulnerability of process itself — a reminder that identity, like the photograph, is always provisional, shifting, and unfinished.
Louise Evensen Herreira (b. 1993, Stockholm, Sweden) is based in Oslo, where she holds a BA in Medium- and Material-Based Art from Oslo Academy of the Arts, and is currently pursuing her MFA there. Evensen works primarily in metal, developing a transmedial artistic practice that unfolds through sculpture, performance, and installation—integrating body, text, and spatial awareness. With public space as a starting point and the surreal as both tool and lens, she blends pop- and subcultural references while exploring perception and collective agreements on reality. Her practice often grows out of research into the materials she collects, engaging with local stories, conversations, and lived experiences that shape the works.
Unit #6 is a sculpture cut by hand and machine from a 2mm aluminum sheet. It is part of a series where Evensen H follows the streets of Oslo through found objects. Each piece marks a stop along this journey, where what is left behind becomes a vessel of memory and reflection.
The sculpture takes its form from a plastic bead curtain with heart-shaped strands. For Evensen, it recalls her teenage room, where such a curtain replaced a door. The sound of the beads clicking together, tangling in hair and clothes, marked presence, mood, and boundaries between private and public. By translating this fragile memory into aluminum, the temporary becomes permanent—an everyday object turned into something solid, stripped of its function yet standing as a kind of monument.
The work speaks of thresholds that both conceal and reveal, now turned into a freestanding, functionless boundary. No longer something one passes through, the curtain becomes a body without organs, a membrane that both protects and exposes. Its low, rigid form undermines monumentality, suggesting fragility and absurdity—at once barrier and non-barrier, skin and architecture, relic and figure.
The Polar/Tropic program is supported by Nordisk kulturkontakt.
Thank you for the support from the Kgl. Norwegian ambassade – Real Embajada de Noruega.
