Danish
I mit skulpturelle arbejde forsøger jeg at komme tæt på, at skabe strukturer som taler direkte til kroppen og til sanserne, på lige fod med de personer eller de ting vi omgiver os med. Med processen i fokus bearbejdes udvalgt materiale, og tilegnes gennem fysiske aktiviteter som blegning, farvning, klipning, udspilning, foldning, binding og syning. Værket fungerer derfor som en form for registrering af disse kropslige handlinger, og den materialitet, tidslighed og foranderlighed der er grundlæggende vilkår for vores eksistens.

English
In my sculptural work I try to get up close, to create structures that speak directly to the body and to the senses, much like the people or the things that surround us. With the process in focus, selected materials are appropriated through physical activities such as bleaching, dyeing, cutting, stretching, folding, binding and sewing. The work therefore function as a form of registration of these bodily actions, as well as the materiality, temporality and changeability that are basic conditions for our existence.

Sarah Kent, Time Out, 2007
'Attached to a metal stand, a piece of wood sports a nifty fringe of black plastic. Jammed into one end with bits of yellow, orange and red felt is a bright orange length of corrugated plastic piping; it gesticulates above two plastic buckets and a washing-up bowl stacked on a low trolley. The materials may be value-less, but attention to detail, such as the tinsel decorating the rim of the bowl, transforms Thrane's ensemble from an idle accumulation of junk into an assemblage made with careful intent. [...] The appeal of these sculptures arises, I think, from the way they embrace imperfection - our own and the world's [.]'

Sotiris Kyriacou, press release, 2010
Idea Store Whitechapel is pleased to present a new installation by Charlotte Thrane. Made in response to the gallery space, the installation will engage viewers with its characteristically irreverent use of objects, materials and images. Creating a new syntax and logic out of the everyday and familiar, Thrane’s juxtapositions highlight qualities and readings beyond the utilitarian.

Thrane uses objects and images in ways which initially appear disorientating, only to make us look again at what we think we already know. This re-engagement with our surroundings proposes a different outlook and allows new possibilities to emerge. Things which would not normally be seen together are selected for the possible conversations they may begin to have when different factors and qualities beyond the functional are prioritised; these include colour, shape, position and placement alone or in groups.