HEDVIG GREIFFENBERG

HEDVIG GREIFFENBERG

Visual artist. Born 1994 in Copenhagen, Denmark. Lives and works in Copenhagen.

Hedvig Greiffenberg is a Danish visual artist working with sculpture and installation. Her practice investigates how meaning emerges through material transformation, spatial relations between form and language rooted in her interest in composition and semiotics. Across a range of materials, Greiffenberg explores states of becoming, opacity, and potentiality, foregrounding how perception is conditioned by what is revealed, concealed, or held in suspension.

Central to her work is an engagement with language understood not as fixed meaning, but as structure. Her sculptural work suggest something about to be articulated, while resisting full legibility. Through processes of casting, coating, staining, and altering, Greiffenberg allows materials to obscure their own content, emphasizing transformation as both method and subject.

Rather than treating systems of signs or compositional frameworks as stable, Greiffenberg introduces subtle disruptions that make their underlying structures perceptible. Her works operate in the tension between the ephemeral and the durable, between gesture and fixation, drawing attention to how meaning is negotiated through material presence, light, and the viewer’s attentive gaze.

The works in the series Oo (syllable) are cast in wax, a mutable and semi-transparent material. As described by George Didi-Huberman in Wax Flesh, wax possesses a transformative capacity in which forms can emerge, shift, dissolve, and reappear. Transformation and displacement are central to the series, which explores different degrees of visibility and legibility through a formal language that may recall a pregnant belly or a slight rise in the ground.

In one sculpture, a single image is embedded in the wax and partially obscured, allowing the motif to surface only faintly. In another, the wax is pigmented and treated with graphite, appearing as a dense, dark point devoid of readable content. This opacity is disrupted by the viewer’s gaze and by light reflecting off the graphite surface. The third sculpture occupies an intermediate position: fragments, cuttings, and image edges are cast into the wax, which is subsequently partially covered with graphite. Here, the material conceals its own contents while allowing the sculptural form to become more pronounced.

Index (La Langue) consists of five red lines cast in bronze using the lost-wax (cire perdue) method and patinated with iron oxide to achieve a deep red tone. Installed in relation to one another, the soft lines suggest a sequence or unfolding. They embody a beginning—an initial impulse or the potential for what might come into being: the first line on a page that can develop into a drawing, a word, or a sentence. This sense of potential stands in tension with the weight and permanence of bronze, underscoring the contrast between the fleeting and the enduring, between gesture and fixation.

Prepositions I–III is a series of sculptures made from form-bent felt that explores balance and spatial relationships through a minimal sculptural gesture. The works also function as pictorial surfaces, where form and surface are inseparable and part of the same inquiry. Each sculpture is touched and painted with traces of pure pigment, repeated in varying configurations to create a rhythmic structure. As in Index (La Langue), this structure operates in the space between drawing and language. The pigment functions as a marking rather than a representation, emerging through the relationship between movement and placement.

Artist´s CV.

EXHIBITIONS

På tværs, duo exhibition with Leonard Forslund 2026.02.07 – 2026.03.08

AVAILABLE ARTWORKS