The boundaries between humans, flora and fauna appear fragile – in stark contrast to the creative process behind the works, in which the clay is fired at high temperatures and fused into dense, compact structures. This contrast between the dynamic meanings of the sculptures and the immovable, heavy quality of the material crystallizes in each sculpture and relief, drawing the viewer into an endless sequence of opposites.

 

The works are in transition – just like the world around us. Hindsgavl is interested in the nature of change, in the duality of the concept, which encompasses both opportunity and unrest. She seeks metamorphosis, that stage where everything is and becomes at the same time – where everything evolves. Our surroundings and circumstances are changing at a speed that exceeds our comprehension, the brain's traditional ability to handle challenges and threats is rendered useless, and it is up to the individual to construct an appropriate response when encountering the world.

 

In line with the exhibition title Adaptations, Hindsgavl points to an alternative to the well-established survival strategies that arise when faced with threats (fight, flight, freeze and submission) – namely adaptation. Based on the expression and materiality of the works, Hindsgavl emphasizes that when the world around us changes structure, direction or logic, we must rethink our own response and reflect on how we move between instinct and adaptation when encountering the duality of change.