Der er nødvendighed og en vis glæde i at protestere imod forestillinger om den gode smag, eller imod verdensordnen; at sabotere glatte kanter og rette vinkler og gøre dem skæve ved hjælp af hjemmelavede eller naturlige processer, som relaterer tilbage til kroppen og personlige erfaringer.
Med mine skulpturelle arbejder efterstræber jeg at skabe en fornemmelse af nærhed som taler direkte til kroppen og sanserne. Med processen i fokus bearbejdes udvalgt materiale gennem fysiske aktiviteter som foldning, stakning, æltning, mosning, strækning, dypning, binding eller syning. Værkerne fungerer som en form for registrering af disse kropslige handlinger, og den materialitet, tidslighed og foranderlighed der er grundlæggende vilkår for vores eksistens.
There is necessity and a certain enjoyment in protesting against notions of good taste, or against the order of things; to sabotage smooth edges and right angles and make them crooked using homemade or natural processes that relate back to the body and personal experience.
With my sculptural work, I strive to create a sense of closeness that speaks directly to the body and the senses.With the process in focus, selected materials are appropriated through physical activities such as folding, stacking, kneading, squeezing, stretching, dipping, 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
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.