CONTACT ABOUT
ANEMONE SEJR
Analog, darkroom and acetone print framed in passepartout.
The phrase “play house” is often used to describe adults behaving as if they’re in a domestic partnership or family setup, but without the full weight of responsibility or commitment.
As a child, to play house is rehearsal of intimacy, tenderness, and belonging. We build shelters from blankets, cradle dolls as if they were children, and mimic the gestures of care.
Here, the play becomes uneasy. The homes are fragile, temporary, or already dissolving.
The child appears not inside the game - already, from an early stage, watching it decay. Perhaps discovering that love and hurt are intertwined.
Each house, trailer, and playground is caught between presence and absence - places that seem to hold life, yet stand in silence revealing their fragility.
It shows the gap between the ideal of home and its lived reality. The houses are not radiant symbols of comfort; they are modest, worn, sometimes fenced off, sometimes broken.
They reveal how fragile the dream of home can be - subject to abandonment, poverty, distance or struggle. It invites us to stand in that tension between the desire for belonging and the recognition of its imperfection.
In this sense, it’s less about houses themselves, and more about what they fail to contain: The quiet ache of knowing that what was imagined in childhood play did not align with the reality of life.
It also summons the uncanny sense that we keep replaying these roles in life, as if we never stop playing house - carrying childhood scripts into adulthood, re-enacting what we learned or longed for.
Path made out of stones and black glitter.
It’s temporarily ordered, any interaction alters its form. It might even lose its shine. Steps scatter and disrupt, just as our actions leave traces, scars, or unintended consequences.
Otherwise you preserve its ideal form staying at a distance, choosing not to compromise.
Septemper 2025 New Student Exhibition at KHM1 Malmö Art Academy