While working at punk music venues as a teenager in Copenhagen, Rose Eken developed a fascination with concert detritus – overfilled ashtrays, cigarette butts, drug paraphernalia, beer cans, and lost clothing, became emblems of a punk rock culture, which she now uses as an onset for her large-scale installations of hand-painted ceramic sculptures. Sculpting objects found in concert halls, kitchens, studios and similarly ubiquitous locations, Eken methodically replicates detritus often placing them very systematically in a grid, suggestive of scientific categorization. Her arrangements and sheer amount of production assume an anthropological quality, documenting and preserving the relics of a culture and celebrating a history in process. While Eken also produces embroideries, paintings, and sometimes even videos, she favors clay for its versatility and clumsy form, as shaping and firing warp the object along the way, resulting in unforeseen and unpredictable imperfections.