Der Greif X FUTURES: 3 questions to Henriette Sabroe Ebbesen

Der Greif introduces Henriette Sabroe Ebbesen, one of the talents nominated for FUTURES in 2024

Henriette Sabroe Ebbesen (b. 1994) is a self-taught photographer and film director from Odense, Denmark. She explores the intersection of science and art. Although formally trained as a medical doctor, her artworks serve as small experiments that visualize and interpret the human body, psyche, and the world, influenced by the perspective of the observer.

Ebbesen employs reflections to create surreal effects in her work: "In my work, I aim to play with the sense of reality that we associate with photographs by distorting the objects and space within the frame. Through these effects, I seek to surprise and confuse, leaving the viewer questioning what is real." Conceptually, her pieces often address themes of identity and the subconscious self, highlighting their connection to and influence from the surrounding world.

"Feminine Development," one of the two projects selected for FUTURES, is about the dispossession of ownership of women's bodies and sexuality. How has this become a topic for you to research?

As a woman, you are constantly reminded of your looks and sexuality and how it plays such an important role in your appearance as a person. I felt that I needed to express a female sexuality that was powerful and feminine without being vulgar. I think society often frames female sexuality as either non-sexual and saint-like or vulgar. I believe most women are neither of the two; therefore, I wanted to show a female energy and sexuality that is more representative.

Der Greif: Isn't photography, and specifically self-portraiture, a tool for alienation itself? The network image, for example, has a lot to do with identity loss and depersonalization.

That’s an interesting question. On one hand, I feel like I play a character when I pose for my own self-portraits to become one with my surreal universe. On the other hand, I also feel like I express something very true and honest about myself that I can’t express in words or in any other way than through my art. It can also be described as connecting with something bigger than me, which could be a way of describing depersonalization.

Der Greif: How did you get into self-portraiture? Your project "Self-Portrait" has likely prompted you to delve deep into this topic. What have you discovered through your practice?

I have created self-portraits from old childhood images for quite some time, as I find it interesting to analyze myself both as a person and an artist in the process. By examining old photos, I discover aspects of my personality that have remained since childhood, and I find it compelling to explore the soul from a child’s perspective. I have also wanted to incorporate self-portraiture into my nude work for quite a while, but I faced challenges with my mirror technique, which is difficult to execute with self-portraits. Then, I had the idea to create self-portraits using a fisheye lens, which produces a distortion of the body, albeit in a different way. I believe this addition to my nude work offers a fresh perspective on the entire body of work and makes it more personal.