Kasper Eistrup has always sought to connect the seemingly impossible. By counterposing order and chaos, his work utilizes different methods and materials, but also separate and distinct visual expressions, ranging from meticulous depictions of the outer world, it’s machines and architecture, to a deeply aesthetic expression of emotions. This approach could have resulted in an ambivalence within the work but rather establishes as a wide ranging and distinct artistic language of its own.

The title of the Eistrup’s monumental work Confluence (2024) refers to the junction of two rivers. This flowing together is present in both the artist’s paintings and drawings which he counterposes with photomontage. In an almost kaleidoscopic pattern, a myriad of details has been intuitively arranged and seamlessly combined.

The intricacy of Eistrup’s work results in an effect where certain details, which at a distance appear almost blurry, stand out with great precision once the viewer moves closer. Much of the material used is collected through reference works, books and old magazines, vintage paper and the result is a babbling rendering of the past, presented almost as a film roll, stretching across the space. 

In the beginning of 1950s, American marine biologist and conservationist Rachel Carson wrote: “The sediments are a sort of epic poem of the earth. When we are wise enough, perhaps we can read in them all of past history.” (The Sea Around Us, 1952). And to Eistrup, images do not only carry an iconographic value; they are also a cautionary tale, drawing parallels between the past and the present, tracing human and natural history through the good and the bad.