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90.4th Paradisæblevej
Valby, 2500


Drawing windows since 1988. British visual artist based in Copenhagen traveling globally.

Writing ⛵️

"Tokyo". Original English-short published in Danish broadsheet newspaper, Politiken, along with drawing as part of the "Postcards from Other Cities" series. 2015

Daniel van der Noon


Between sky and crust the ground flashes and alternates colour with the same speed of the neon sparkled skyline; your vision permanently plugged into to new combinations of swatches of colour, arrow road markings and swirling red lights; firmly placed into the tarmac that serve to mechanise moving pedestrians.

From green painted rooftops pruned, rose-coloured scaffolding-like structures germinate and grow. The flying vehicles above enjoy the sight of them. During rain fall, transparent, black-stemmed petals reflect the pastel-toned lighting around them back into the eyes of passer’s by.

Photosynthesis occurs also. During the daytime the dimmed neon lighting absorbs energy from above to spend throughout the night. The sun sets. Buildings breathe. And like entering a maternity ward, new buildings are born and treated with sensitivity and tenderness. The land is too attended too with care. A surgical white steel curtain (on wheels) is pulled across to allow the building privacy from the thousands of public eyes throughout the labour. A light festival ensues at the gate to the ward, to make people both aware and joyful of the new-born. A careful selection of lights, mostly red, illuminate the pathway, and a host of stewards dressed in flashing vests holding neon candles man the area (one of whom is chosen, notably, to create a mural from light cable across the partition).

Save for a difference in decibels, the affectionate bleeps of street vacuums are easy to confuse with that of a smooth-moving police car; this combined with high-decibel J-Pop beaming from tower-sized amplifiers accompanying video commercials provides evidence of the existence of humans, while the silent, focused many surge through the labyrinth below.