Inger Lise Hansen

The spectacle of fog appearing in Oslo, the Azores, Beijing and Newfoundland, beautifully captured in various film formats.

In my film works the main focus is on impermanence, transience, and ideas of change, shifts and “repositioning”. Landscape and architecture that appear to be solid and permanent is experienced unstable and disorienting. In travelling fields I am particularly interested in the idea of geography and how it can be examined and visually reworked in the dimension of altered time and filmic space.
In this work I continue to work with shifts in perspective and working with the specific qualities it produces in the image. These qualities are results of certain ways of framing and the parallax movements produced by the travelling camera. It includes architectural elements and different ground surfaces in the Murmansk region, Kola Peninsula, Russia.


Inger Lise Hansen made the site-specific work Parallax during an artist residency in Linz, Austria, for the exhibition Höhenrausch at the OK Center for Contemporary Art. The film is shot entirely on the roof of a shopping center in Linz.

In my film works the main focus is on impermanence, transience, and ideas of change, shifts and “repositioning”. Landscape and architecture that appear to be solid and permanent is experienced unstable and disorienting. In travelling fields I am particularly interested in the idea of geography and how it can be examined and visually reworked in the dimension of altered time and filmic space.
In this work I continue to work with shifts in perspective and working with the specific qualities it produces in the image. These qualities are results of certain ways of framing and the parallax movements produced by the travelling camera. It includes architectural elements and different ground surfaces in the Murmansk region, Kola Peninsula, Russia.


A time-lapse animation film about the disorientating and unsettling filmic space that occurs on the screen from an upside down view.

A time-lapse animation film about the disorientating and unsettling filmic space that occurs on the screen from an upside down view.

A time-lapse animation film about the disorientating and unsettling filmic space that occurs on the screen from an upside down view.

In ‘Here After’, filmed in a soon-to-be-demolished inner-city tower block on the north side of Dublin, objects disintegrate before our eyes, as though being eaten by some strange virus or invisible entity. The contents of a room disappear as the carpet beneath them is sucked into a void below. Wind haunts the empty spaces, stirring the curtains on an open window, or the wallpaper which barely clings to the damp wall. This movement is contrasted by the stillness of an undressed bed, a rectangle of light from outside creeping over its surface, pausing as if resting one last time before moving off again. The barrier between the interior and exterior is no longer intact, and nature encroaches – water dripping down walls, advancing slowly over floors, spilling dangerously from light-fittings. Light spills in too, but rather than hopeful illumination, its presence is menacing, evoking a sense of time passing too quickly, bringing premature decay.

"Adrift" is shot on the arctic island of Spitzbergen and in Norway. It combines time-lapse photography with stop-motion animation of the landscape. Through camera-angles and framing the film gradually dislocates the viewer from a stable base where one loses the sense of scale and grounding.

Hus is a film which attempts to reveal the private and hidden layers of our habitation. It is a live animation film shot on location which incorporates both pixilation (stop motion) and time-lapse photography. Every single shot opens up a hidden layer of the house and exposes it to the passing light. Within the accelerated time of the film the house gradually breaks down piece by piece and frame by frame. Once the house is completely dismantled it is reconstructed in a different location.

In this film I was interested in making places that were far apart in physical distance appear next to each other in cinematic time. Each shot is an independent scene from a separate location and I animated objects and materials found in these places. The optical soundtrack is mixed low, so that the sound of the static electricity on the track mixes with the recorded soundtrack.

Talking to a Stone uses cinema’s dimension of time to explore decay in an urban landscape, accelerating the destruction around us through invisible human intervention.

Talking to a Stone uses cinema’s dimension of time to explore decay in an urban landscape, accelerating the destruction around us through invisible human intervention.