Artist Frederik Erfurt
Frederik Erfurt is a Danish artist working between painting, photography, and material experimentation.
Using analog film, pigment printing, glass, oil, and acrylic, he creates images that resist fixed interpretation. Reflection, transparency, and surface become active components of the work, causing each image to shift according to light, distance, and the viewer's position.
His practice explores how images emerge through the interplay of accident and intention. Rather than correcting errors, interruptions, and material deviations, these elements are preserved as essential parts of the work itself.
The resulting works occupy a space between abstraction and representation, permanence and instability, where perception remains in motion and meaning is continually renegotiated.
An artist exploring how images become unstable through light, reflection, material transformation, and perceptual change.. Images that exist between photography, painting, reflection, memory, and material transformation.
An image suspended between emergence and disappearance. Layers of photographic information are interrupted by painterly gestures, creating a surface that shifts between depth and reflection as the viewer moves.
Exhibitions
“Color of Crisis”
Exhibition
The works in Color of Crisis emerge from a landscape of shifting signals, fractured perceptions, and unstable images. Through layered photographic and painterly processes, color becomes both subject and agent—concealing, revealing, and transforming what can be seen.
Between abstraction and representation, the works trace moments where certainty begins to dissolve. They occupy a space in which images no longer function as fixed records, but as evolving surfaces shaped by light, material, and interpretation. See more
“Accident and Intention”
Exhibition
The works in this exhibition investigate the relationship between deliberate gesture and unexpected outcome. Combining photography, painting, and material experimentation, each image evolves through a process where control and chance remain inseparable.
What emerges is not a fixed image, but a record of negotiation—between accident and intention, surface and depth, appearance and transformation. See more
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Selected works
no. 8338 - 2024 © (80 x 120 cm. / 31.5 x 47.2 in.)
In Conceived Urgency, the image is compressed rather than accelerated. Layers are pushed close together, limiting space for rest. Color and form press forward simultaneously.
Mixed media:
Oil and acrylics on 4 mm crystal clear diamond glass. Hahnemühle Fine Art Giclée archival paper, expired 35 mm photographic film printed with 10-color pigment inks, mounted behind glass.
Original artwork, accompanied by a certificate of authenticity.
no. 8738 - 2024 © (80 x 120 cm. / 31.5 x 47.2 in.)
In Shrinking Doze, the image holds, but with less certainty. Its structure remains, yet its claim weakens. What persists is a surface in negotiation,
a diminished dose, still active.
Mixed media:
Oil and acrylics on 4 mm crystal clear diamond glass. Hahnemühle Fine Art Giclée archival paper, expired 35 mm photographic film printed with 10-color pigment inks, mounted behind glass.
Original artwork, accompanied by a certificate of authenticity.
no. 8778 - 2024 © (60 × 90 cm. / 24 × 35 in. )
In Linger, the surface appears still but remains active. Small shifts occur through light and viewing position. Movement exists without gesture. Attention activates the image.
Mixed media:
Oil and acrylics on 4 mm crystal clear diamond glass. Hahnemühle Fine Art Giclée archival paper, expired 35 mm photographic film printed with 10-color pigment inks, mounted behind glass.
Original artwork in an edition of 3, accompanied by a certificate of authenticity.
no. 8778 - 2024 © (60 × 90 cm. / 24 × 35 in.)
Beyond avoids confirmation. Forms resist clear interpretation. Certainty is withheld. The surface remains open.
Mixed media:
Oil and acrylics on 4 mm crystal clear diamond glass. Hahnemühle Fine Art Giclée archival paper, expired 35 mm photographic film printed with 10-color pigment inks, mounted behind glass.
Original artwork in an edition of 3, accompanied by a certificate of authenticity.
no. 8868 - Frederik Erfurt, 2024 © (60 x 90 cm./ 24 x 35 in.)
In Fractures, is a subtle deviation, the image does not break apart; it shifts. A subtle misalignment runs through the surface, a tension between layers that no longer fully coincide.
Mixed media:
Oil and acrylics on 4 mm crystal clear diamond glass. Hahnemühle Fine Art Giclée archival paper, expired 35 mm photographic film printed with 10-color pigment inks, mounted behind glass.
Original artwork, accompanied by a certificate of authenticity.
no. 8838 - 2024 © (60 x 90 cm. / 24 × 35 in. )
Bleed Godspeed traces motion through residue, not momentum. Movement appears through residue rather than direction. Color carries the trace of motion.
Mixed media:
Oil and acrylics on 4 mm crystal clear diamond glass. Hahnemühle Fine Art Giclée archival paper, expired 35 mm photographic film printed with 10-color pigment inks, mounted behind glass.
Original artwork, accompanied by a certificate of authenticity.
no. 8778 - 2024 © (80 x 120 cm. / 31.5 x 47.2 in.)
In Altered Pendulum, the image moves between repetition and deviation. Forms recur, but never identically. Inheritance is modified through motion.
Mixed media:
Oil and acrylics on 4 mm crystal clear diamond glass. Hahnemühle Fine Art Giclée archival paper, expired 35 mm photographic film printed with 10-color pigment inks, mounted behind glass.
Original artwork, accompanied by a certificate of authenticity.
no. 8968 - 2024 © (60 x 90 cm. / 24 x 35 in.)
In Encapsulated Claims, the image is tightly contained. Pressure builds within defined limits. Instability is held rather than released. Containment becomes part of the structure
Mixed media:
Oil and acrylics on 4 mm crystal clear diamond glass. Hahnemühle Fine Art Giclée archival paper, expired 35 mm photographic film printed with 10-color pigment inks, mounted behind glass.
Original artwork, accompanied by a certificate of authenticity.
no. 8160 - 2024 © (50 × 30 cm. / 20 × 12 in.)
Between holds the image in suspension. The work is formed through layered adjustments, where no single state is allowed to finalize.
Mixed media:
Oil and acrylics on 4 mm crystal clear diamond glass. Hahnemühle Fine Art Giclée archival paper, expired 35 mm photographic film printed with 10-color pigment inks, mounted behind glass.
Original artwork in an edition of 3, accompanied by a certificate of authenticity.
no. 8888 - 2024 © (80 x 120 cm. / 31.5 x 47.2 in.)
Evaporated Inferno holds intensity without spectacle. Intensity is present without ignition. Color holds residual heat rather than force. What remains is trace rather than event.
Mixed media:
Oil and acrylics on 4 mm crystal clear diamond glass. Hahnemühle Fine Art Giclée archival paper, expired 35 mm photographic film printed with 10-color pigment inks, mounted behind glass.
Original artwork, accompanied by a certificate of authenticity.
no. 8175 - 2024 © (50 × 30 cm. / 20 × 12 in.)
Path unfolds as a sequence rather than a destination.
Mixed media:
Oil and acrylics on 4 mm crystal clear diamond glass. Hahnemühle Fine Art Giclée archival paper, expired 35 mm photographic film printed with 10-color pigment inks, mounted behind glass.
Original artwork in an edition of 3, accompanied by a certificate of authenticity.
no. 8103 - 2024 © (60 × 90 cm. / 24 x 35 in.)
This work refuses climax. The image exists before resolution. Tension accumulates without release. Nothing concludes.
Mixed media:
Oil and acrylics on 4 mm crystal clear diamond glass. Hahnemühle Fine Art Giclée archival paper, expired 35 mm photographic film printed with 10-color pigment inks, mounted behind glass.
Original artwork, accompanied by a certificate of authenticity.
no. 8062 - 2024 © (60 × 90 cm. / 24 × 35 in. )
Quantum operates through fragmentation and probability. The image does not resolve into a single state. Multiple readings remain active. Observation alters what comes forward.
Mixed media:
Oil and acrylics on 4 mm crystal clear diamond glass. Hahnemühle Fine Art Giclée archival paper, expired 35 mm photographic film printed with 10-color pigment inks, mounted behind glass.
Original artwork, accompanied by a certificate of authenticity.
no. 8097 - 2024 © (80 x 120 cm. / 31.5 x 47.2 in.)
Resources in Reverse proposes a system where output comes before input, where reaction arrives before the origin. The image resists linear construction.
Mixed media:
Oil and acrylics on 4 mm crystal clear diamond glass. Hahnemühle Fine Art Giclée archival paper, expired 35 mm photographic film printed with 10-color pigment inks, mounted behind glass.
Original artwork, accompanied by a certificate of authenticity.
no. 8118 - 2024 © (80 x 120 cm. / 31.5 x 47.2 in.)
Threshold of Regeneration is constructed through repetition and return. Layers accumulate without erasing what came before. Damage, error, and adjustment remain visible.
Mixed media:
Oil and acrylics on 4 mm crystal clear diamond glass. Hahnemühle Fine Art Giclée archival paper, expired 35 mm photographic film printed with 10-color pigment inks, mounted behind glass.
Original artwork, accompanied by a certificate of authenticity.
no. 8118 - 2024 © (40 × 60 cm. / 16 × 24 in.)
Urgent Distraction mirrors the fractured attention of contemporary perception. Multiple elements compete across the surface.
Mixed media:
Oil and acrylics on 4 mm crystal clear diamond glass. Hahnemühle Fine Art Giclée archival paper, expired 35 mm photographic film printed with 10-color pigment inks, mounted behind glass.
Original artwork in an edition of 3, accompanied by a certificate of authenticity.
About
Frederik Erfurt (b. 1990) is a Danish artist whose work investigates how images are formed, altered, and remembered.
Working across photography, painting, glass, and archival printing processes, he constructs works in which light and reflection become part of the image itself. Layers of analog film, pigment, oil, and acrylic are accumulated and transformed into surfaces that appear simultaneously fixed and unstable.
Central to his practice is an interest in accident as a creative force. Rather than eliminating errors, shifts, and material resistance, Erfurt allows them to remain visible, revealing the image as a negotiation between control and contingency.
His work explores perception as a dynamic condition, where meaning emerges not only from what is seen, but from how an image changes through time, movement, and attention.
