Episode 02, Ditte Ejlerskov, Julie Leopold

The second episode of Atelieret brings together painter Ditte Ejlerskov and Enter Art Fair founder Julie Leopold Alf. Ejlerskov is fresh from installing her exhibition Undercurrent Breathing at Martin Asbæk Gallery in Copenhagen, which opens on 17 January. The conversation moves between her digital sculptural practice, the reality of collecting hybrid artists, and the labour of building an art fair around difference.

The Plateau and the five feminine avatars

Ejlerskov describes Undercurrent Breathing as opening a window onto the workspace she carries in her head, which she calls The Plateau. A new film pans across a landscape populated by sculptures, some realised in physical form, others still living only as 3D animations. The paintings in the exhibition are, in her words, taken out of the film. The show orbits five feminist avatars, beginning with the wrestlers and culminating in her Ran figure, standing in an architecture that is at once a plateau and a jungle.

NFTs as certificates, not currency

Ejlerskov is clear that her interest in NFTs was never about crypto as a market. Her digital sculptures look raw, deliberately unskinned, closer to plaster casts than to rendered products. She thinks of them the way earlier centuries thought of gypsum copies of excavated marbles: a way to move information rather than the object itself. The NFT, in her framing, is the certificate of ownership for a form that stays public, downloadable, and photographable in strangers' living rooms.

Julie Leopold Alf on hybrid practice and the market

Leopold Alf, who founded Enter Art Fair in 2019 with an explicit digital focus, is honest about how much slower the market for digital work has been than she expected. She sees the artists who kept working through the boom and its collapse, Ejlerskov among them, as the ones now producing something durable. Her legal training informs a recurring concern in the conversation: that basic contract practice in the Danish gallery world is still underdeveloped, held together more by trust in the artist's practice than by paperwork.

Colour as chromotherapy

Ejlerskov speaks about working in waves of a single colour, cycling through blue, then orange, then blue again. She frames this as chromotherapy: a colour attracts her while it is healing something, and she moves on when that need is met. The result is exhibitions that read as monochromatic bodies of work rather than curated palettes, and a practice that treats the studio as a tuning device for the artist herself as much as for the viewer.

The full conversation, in Danish, is embedded below. A downloadable speaker-tagged transcript is available for readers who prefer to read.

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