GRAND PERENNIAL (2025)
Handblown glass, steel, leather
141 x 115 x 35 cm
OH OMEN (2025)
Solo Show 24.04 - 22.06.2025
Norwegian Sculptors Society, Oslo, Norway
Curated by Tatiana Lozano
Text by Emma Lomell
Solo Show 24.04 - 22.06.2025
Norwegian Sculptors Society, Oslo, Norway
Curated by Tatiana Lozano
Text by Emma Lomell
How can one cultivate the fragile? Madelen Isa Lindgren uses glass, metal, and leather to present a world where the vulnerable and the solid are inextricably linked.
Hanging from the ceiling and resting on a metal bed, we see extraterrestrial glass forms resembling cracked cocoons. Has something or someone broken out? Has it just happened, or is it something from long ago? Is the cocoon itself an organism?
The dark and metallic surface is strong and durable, while the organic form appears fertile and alive. We are confronted with something that is both ancient and futuristic, something that seems frozen in time or represents an entirely different time.
In Lindgren’s sculptural installations, metal functions as its own flora, capable of forming both shields and nests. The fragile glass is supported by the metal forms, as if they have chosen to trust each other. The fragile is not enclosed or hidden, but upheld and elevated.
The sculptures demonstrate that the primordial and the future do not necessarily stand in opposition, and that the technological and the botanical can merge into new symbols. In oh omen, we enter a distinct time that dissolves the relationship between the natural and architectural, the molecular and structural. Subtle light sources blink toward us, communicating something known only to them.
A sacred atmosphere rests over the rooms.
OH OMEN (2025)
Exhibition overview
Various dimentions
ORPHIC QUEST (2025)
Handblown glass, steel
glass 60 x 22 x 200 cm / steel 86 x 86 cm
OH OMEN (2025)
Exhibition overview
Various dimentions
TRINITY PASSAGE (2025)
Handblown glass, tin cast, leather
200 x 35 x 25 cm
TREASURE DOME (2025)
Handblown glass, steel, tin cast
glass 60 x 30 cm / steel 80 x 80
OH OMEN (2025)
Handblown glass, steel, tin and copper woven fabric
250 x 100 x 20
OH OMEN (2025)
Exhibition overview
Various dimentions
O, ORACLE (2025)
Handblown glass, steel, rotating box
113 x 60 cm
OH OMEN (2025)
Exhibition overview
Various dimentions
AUTO DRIVE (2025)
Tin cast, oxidized steel
93 x 65 x 210 cm
GLOOM PARK (2025)
Hand made glass, faux leather, steel
55 x 78 cm
Photos by Istvan Virag
GLOOM PARK (2025)
Group Show 28.03.2025
TON 2 / Atelier Gardens, Berlin, Germany
Curated by MOLT
Group Show 28.03.2025
TON 2 / Atelier Gardens, Berlin, Germany
Curated by MOLT
The installation unfolds as a dialogue between fragility and persistence, where hand-blown glass sculptures mimic the growth of plants, stretching towards the light. Suspended in the tension between nature, culture, and performative aesthetics, these fragile but insisting sprouts rise from a steel grid—an object of industry and function, now transformed into a stage where mimicry and natural forms blend and perform.
Movement and stillness blend, as the sculptures take shape in a frozen gesture of growth, blurring the boundary between the organic and the constructed. The space comes alive through imitation and transformation, as the materials suggest movement and change.
At the core of the work, the glass sculptures orbit a leather ballerina skirt—a reference to craftsmanship and movement, but also an intimate trace of the body. This interplay between material and form introduces a corporeal presence, where the growing structures take on human-like qualities. The composition of organic motion and scenographic elements captures a performance caught in suspension, a dance frozen in time.
The installation invites reflection and speculation on the way nature can appropriate human culture, absorbing our gestures and expressions. By lending theatrical and bodily qualities to plant life, the work questions the relationship between the human and the non-human, suggesting that a deeper understanding of this connection might cultivate a renewed sense of care for the spaces we inhabit
.Movement and stillness blend, as the sculptures take shape in a frozen gesture of growth, blurring the boundary between the organic and the constructed. The space comes alive through imitation and transformation, as the materials suggest movement and change.
At the core of the work, the glass sculptures orbit a leather ballerina skirt—a reference to craftsmanship and movement, but also an intimate trace of the body. This interplay between material and form introduces a corporeal presence, where the growing structures take on human-like qualities. The composition of organic motion and scenographic elements captures a performance caught in suspension, a dance frozen in time.
The installation invites reflection and speculation on the way nature can appropriate human culture, absorbing our gestures and expressions. By lending theatrical and bodily qualities to plant life, the work questions the relationship between the human and the non-human, suggesting that a deeper understanding of this connection might cultivate a renewed sense of care for the spaces we inhabit
110 x 100 x 65 cm
Photos by Sebastian Rozanski
- MISS FORECAST (2025)
- SORGENFRI, Oslo, (NO)
- Curated by Sorgenfri
- NIGHT BLOOM (2024)
- Group Show 13.12 - 03.01.25
- “Djup som ei fure i boten av ei elv”
- Mikey Laundry Art GardenBergen (NO)
- Curated by Hulmur
150 x 55 cm
- NOTHING PETALS CANNOT SAY,
- RESTING IN THE WORLDS BONE (2024)
- Solo Show 25.07 - 31.07.2025
- Forhallen, Stavanger (NO)
- Curated by Sandra Vaka
- Rooted in botanical anatomy, growth, and decay
- the exhibition presents a scenario where the past
- and a distant future collide. Within this space, a
- duality unfolds between what has been lost and
- what re-emerges—a condition reminiscent of a
- hypothetical archaeological discovery, where the
- remnants of something once alive testify to both
- destruction and survival.
Lindgren translates concepts such as camouflage and protection into sculptural survival strategies. Through material and formal choices, she creates objects that appear to exist in a frozen metamorphosis—a stage suspended between transformation and stillness. Organic life is imitated but held in a state that challenges the distinction between what is alive and what has lost its vitality.
The exhibition gradually shifts from the organic to the static, and from the living to the non-living. This transition is mirrored in works that bear traces of nature’s cycles—growth, erosion, adaptation, and decay. At the same time, it explores forms and expressions of survival, where nature’s resilience and vulnerability coexist. Lindgren invites the viewer to reflect on the passage of time, the impermanence of life, and the possibility of transformation even in moments marked by stillness and dissolution.
- Steel, 155 x 55 cm
- Photos by Eivind Egeland
35 x 35 x 45 cm
- SPIRAL SHIFTS (2024)
65 x 65 cm
- TEMPORAL TEMPLES (2024)
26 x 15 cm
5x5 cm
- steel
- 320 x 320 cm
- FRACTALS (2024)
65 x 65 cm
30 x 35 cm
- SPAWN VESTIGE (2024)
60 x 55 cm
- Group Show 21.03-31.03.24
- SALGSHALLEN, Oslo (NO)
- Curated by HULMUR
Its personal
MASTER GRADUATION EXHIBITION
Bergen Kunsthall, Bergen (NO)
Art Direction by Michael Stumpf
HEAVEN AND HELL IN ROOTS THEY ARE LONG explores verticality as a symbol in mythology, architecture, and belief—ranging from the Tower of Babel and Mount Olympus to modern skyscrapers. Such structures express both ambition and vulnerability, reflecting humanity’s need for direction, belonging, and transcendence. At the same time, they carry the possibility of decay and transformation, inviting reflection on the human desire to move beyond the material.
The work draws on the Corinthian column’s combination of construction and ornamentation, investigating how the ornament can function as a narrative and symbolic form. In the sculpture, this is transformed into a plant-like structure growing upward—an image that represents both nature’s logic and architectural striving.
Through repeated forms and subtle shifts, a rhythm of growth and
mutation takes shape. The classical order is broken in favor of a more corporeal and lively expression, where the ornament becomes an active narrative. The sculpture invites viewers to look at architectural symbols in a new light, detached from their original function and activated as spaces for speculative transformation.
- Exhibition history
- K32 Gallery, June 2023,
- Berlin (DE)
steel
150 x 30 cm
RISING ROOTS (2023)
- Group Show I CAN CARRY PEOPLE AROUND
- Bergen Kjøtt, May 2023, Bergen (NO)
Curated by MFA1
155 x 30 cm
THE MOTHER (2023)
steel
320 x 320 cm