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Solo show at Paris-B, Paris FR, 2023

The words text, textile and texture all derive from the latin verb, and title of the show, “TEXERE”. Meaning to weave, to plait or to construct with elaborate care, it is an all-encompassing word that represents the woven materiality and immateriality existing in the mesh of Theis Wendt’s work. “TEXERE” also alludes to the wooden textures that are multiplied and mirrored in the gallery’s space.

Using a wide range of both organic and synthetic materials, Theis Wendt’s creative process combines sculpture, installation and post-photography. Through digitally rendered photographs he explores the image as space, surface and means of communication.

Confronted with a context of creation in the post-truth era, flooded with a constant stream of information, images generated by artificial intelligence and Deepfake technology, Wendt plays with the notions of truthfulness and authenticity. As Walter Benjamin had already predicted in his 1935 essay The work of art in the age of mechanical reproduction, digital reproduction processes affect our sensory perception of physical materiality and the aura that images emanate. The illusory nature, recreated by numerical means, becomes a second-degree nature.

However, virtual realities and tangible realities coexist in the artist’s universe. His works affirm that our relationship to the world and our understanding of reality have been considerably modified by a radical change in the tools with which we access them. The Internet and screens have not only broadened our horizons, they have shifted the very same axis from which we contemplate them. Thus, in the digital abyss exacerbated by omnipresent technology, Theis Wendt exhibits the rather romantic quality of man-made sublimity.

It is these interstices that the works of the Void series inhabit. The figures of the window and the frame are recurring pictorial elements in the artist’s pieces. The frames in Void seemingly shape-shift into wooden cubes. But these wooden cubes have no end, or at least not an apparent one. Therefore they transform into mural portals transporting us into alternative realities. The void evoked by the title is embodied by the infinity of wood that also suggests a mysterious, dark, and seductive beyond. Real space is enlarged to make room for doubt and speculation but also for curiosity and contemplation.




Commission for Banedanmark’s administrative building, Ringsted DK, 2020

Pigmented resin and Railway shards

2 x 300x60x60cm

Banedanmark is a Danish company responsible for maintenance and traffic control on all of the state owned Danish railway network. 

Negativ Meadow

Solo show at Kunsthal Nord, 2019

Text by Kunsthal Nord

The virtual world is an essential theme in the exhibition Negative Meadow, which encourages the viewer to explore and sense the intertwinement of the virtual and the present reality. The accelerated evolution of contemporary technologies has affected our perception of time and space, because they are constantly changing our relationship with the immediate reality, and the representation of that reality, on virtual platforms.
The Danish visual artist, Theis Wendt, has worked with installation and sculpture in the specific architectural context of Kunsthal NORD. He uses todays digital flow of images in interaction with the analogue image, to create abstract, spatial installations and sculptures, through which he explores the image as space, surface, reflection and communication.
Negative Meadow is inspired by Kunsthal NORD, situated in the building of a former coal power plant, as ‘the factory’, a representative symbol of how the work force, virtuality, climate change, nature and humans have been fused together in a virtual, omnipresent factory that never closes.
Theis Wendt has been on multiple research visits in order to study Kunsthal NORD and the surrounding city of Aalborg, to ensure a strong connection between the installation and the aesthetic and sensory experience of the building. The architecture of the old coal factory is raw and unpolished. However, through virtual interventions the actual space is expanded and twisted into an alternative reality. The installation hereby portrays a reinterpretation of inner and outer space, an intermediate space where time has momentarily stopped.
The exhibition Negative Meadow may seem dark and dystopian, but there is light in the synthetic darkness. Theis Wendt attempts to place the viewer in an encounter with the world, where seeds of doubt are sown of the world’s material reality.

Invisible Presence


Group show 'What is Left Behind' at Akershus kunstsenter, 2017

Participating artists: Robin Danielsson / Silas Inoue / Sarah Vajira Lindström / Oliver Kunkel / Theis Wendt

Curated and text by Monica Holmen

The aspects and theories on cause and effect have been much discussed by philosophers such as Aristotle and David Hume. There is a logical and irrevocably connection between cause and effect, action and consequence.

In many guises these are some of the underlying notions in the exhibition What is Left Behind, wherein the five artists base their projects on topics spanning from nature catastrophes and ecological conditions, to contemplation and research on process and formal questions in the studio. Nuclear test bombings, invasive and extinct species, food and flesh, artistic processes and exploration may serve as key words. Consequences of actions – spanning from the seemingly insignificant to rather tumultuous and disruptive outcomes – are visualized in installation, photography, textile, video and sculpture.

Throughout the exhibition we see how these topics resonnate in visual art, but also the outcomes of artistic actions as such. What traces does an artist leave behind in a piece? To what extent is left-overs from the process visible in the finished piece? And how might both local and global conditions echo in a piece of art?

With the two-channel video installation Invisible Presence consisting of Trinitite stones, Theis Wendt poses questions about human’s relationship to nature, and the much-debated geological age of anthropocen who many now believe we have entered.