Techno Mythologies

Year: 2024*
Solo exhibition - Total installation
Chr. IVs Brewery, Copenhagen.
Exhibition period: June 28 — Sept 15. 2024
Technique & Material: r3D printed PLA, PLA, Aluminium, 3D animation, projections, UV-print, Augmented Reality (AR), metal, scent, sound. (various dimensions)
Installation photo by: David Stjernholm
Curator: Majken Overgaard
Presented by: Christiansborg Palace
*Awarded by the Danish Arts Foundation, Annual Exhibition Award 2024.
Solo exhibition - Total installation
Chr. IVs Brewery, Copenhagen.
Exhibition period: June 28 — Sept 15. 2024
Technique & Material: r3D printed PLA, PLA, Aluminium, 3D animation, projections, UV-print, Augmented Reality (AR), metal, scent, sound. (various dimensions)
Installation photo by: David Stjernholm
Curator: Majken Overgaard
Presented by: Christiansborg Palace
*Awarded by the Danish Arts Foundation, Annual Exhibition Award 2024.










Hand in Hand


Year: 2024
OPEN ART, Örebro, Sweden
Exhibition period: June 15 — Sept 8. 2024
Technique & Material: r3D printed PETG, metal, paint, Augmented Reality (AR) (various dimensions)
OPEN ART, Örebro, Sweden
Exhibition period: June 15 — Sept 8. 2024
Technique & Material: r3D printed PETG, metal, paint, Augmented Reality (AR) (various dimensions)






The Liminal Eatery


Year: 2023*
Technique & Material: r3D printed PLA, PLA, rPP/ ocean rPPGF, quartz sand, binder, pigment, rPETG, resin, aluminium, earthenware, rPLA + wood fibres, Virtual Reality (VR). (various dimensions)
Photo by: David Stjernholm
*Award: Winner of the Biennale Award 2023. The Biennale prize is considered the biggest recognition of current Danish craft & design.
Technique & Material: r3D printed PLA, PLA, rPP/ ocean rPPGF, quartz sand, binder, pigment, rPETG, resin, aluminium, earthenware, rPLA + wood fibres, Virtual Reality (VR). (various dimensions)
Photo by: David Stjernholm
*Award: Winner of the Biennale Award 2023. The Biennale prize is considered the biggest recognition of current Danish craft & design.
Step into The Liminal Eatery, a mixed reality installation. It explores the digital shift of our sensory encounters, as activities like dining, writing, and socialising evolve into online routines. Every element - from table to cutlery, seating to lamp - is made by 3D printing techniques. This fusion of additive manufacturing and multisensory elements prompts contemplation. How might we harmonise physicality and the digital? Can our surroundings and digital engagements truly enliven our senses? Take a seat, engage with a digital lifeform and spark a dialogue on the intersection of our senses, social existence, and technology.














Digital Indulgence


Year: 2023
Technique & Material: Quartz sand, paint, PLA, LCD Screen Dimensions: 330 x 338 x 180 mm (blue), 254 x 256 x 284 mm (beige)
Technique & Material: Quartz sand, paint, PLA, LCD Screen Dimensions: 330 x 338 x 180 mm (blue), 254 x 256 x 284 mm (beige)
The centerpieces explores the relationship between our senses and technology. The 3D printed cake stands represents the tangible world. The plate is topped with digital cakes, representing the (in)tangible pleasure and abundance that technology promises. The piece invites viewers to consider how technology can be integrated to enhance, rather than replace, our sensory experiences. Digital Indulgence emphasizes the importance of our human senses in the digital age.















Royal Chambers – Home as Host, Host as Home


Year: 2022
Solo exhibition
inter.pblc, Hamletsgade 6, Copenhagen.
Exhibition period: November 5 — 29. 2022
Installation photos by: David Stjernholm
Graphic Identity: Kiosk Studio
Text by: James Taylor-Foster
Solo exhibition
inter.pblc, Hamletsgade 6, Copenhagen.
Exhibition period: November 5 — 29. 2022
Installation photos by: David Stjernholm
Graphic Identity: Kiosk Studio
Text by: James Taylor-Foster
A 2022 census of ants
puts the total population at twenty quadrillion – a twenty with fifteen zeros.
That’s around two and a half million, give or take, for every human. These
biomes, like cities, are networks of incredible sophistication.
A royal chamber, the prime cell of an ant colony in which a queen expends a life in continual creation, advocates for the notion of home as something more than four walls and a roof. Homes can be understood at manifold scales; they are around and within us. Our bodies, microbiomes of viruses, proteins, bacteria, archaea, and fungi, are one scale. The data-driven networks that we embed ourselves in and are dependent on, another. Earth is a home of a scale too challenging to comprehend in its rich and intertwined fullness. Between the visceral present, clear as mud, and the future – often clearer than we give it credit for – this project unfolds the idea of home as a multifaceted ecosystem.
A royal chamber, the prime cell of an ant colony in which a queen expends a life in continual creation, advocates for the notion of home as something more than four walls and a roof. Homes can be understood at manifold scales; they are around and within us. Our bodies, microbiomes of viruses, proteins, bacteria, archaea, and fungi, are one scale. The data-driven networks that we embed ourselves in and are dependent on, another. Earth is a home of a scale too challenging to comprehend in its rich and intertwined fullness. Between the visceral present, clear as mud, and the future – often clearer than we give it credit for – this project unfolds the idea of home as a multifaceted ecosystem.



If the cocoon of the caddisfly larva, the mound of an ant colony, and the beaver’s lodge are each a creation of creatures who modify their surroundings by design, then the aeroplane, the clock, and the internet are creations that similarly modify our surroundings in turn. From the simplest objects to the most sophisticated in our world, all technology – made by humanity or otherwise – is a part of nature. By way of sculpture, interactive installation, and visual media, Wang & Söderström investigate our relationship to digital and environmental development through an assembly of five works. Together they describe an entanglement of shifting power structures and perspectives in a rapidly changing ‘phygital’ world.
The ecology of technology, perhaps the most powerful force on our planet, calls for speculative perspectives that revaluate our role as custodians of something infinitely more intricate than ourselves. Royal Chambers posits an expanded idea of home, of care and connection from micro to macro, to shine light on a more integrated, nuanced notion of life and living.







