Per Lunde Jørgensen (b. 1964, Aarhus, Denmark; lives and works in Copenhagen and London) has developed a singular and quietly rigorous practice over more than three decades. A graduate of the Royal Danish Academy of Fine Arts (MFA), his work transforms everyday objects—used upholstery, furniture panels, textile remnants—into structured, pared‐back compositions. Materials are sourced from local classifieds and thrift—including seat covers and curtain fabrics—then dismantled, recut, and sewn into raw canvas, creating modular structures that move fluidly between painting and architectural object. These carefully constructed surfaces bring the memory of use into alignment with a disciplined formal logic composed of stitch, seam, and pattern—allowing an engaged viewer to “consume” the work, in the artist’s words, through repetition, calibration, and structural clarity.In his recent works, areas of heightened chromatic density introduce a boldness of form that recalls the compositional clarity of Ellsworth Kelly. Colour is not applied but embodied—flat, saturated fields are cut into form and allowed to hover with deliberate poise. Jørgensen’s silhouettes—rounded, asymmetrical, at once organic and precise—float against neutral grounds with calibrated spacing and rhythm. Their apparent simplicity belies a complex balancing act, in which surface, shape, and interval are resolved through intuition and control. The result is quietly declarative: an abstraction anchored in touch, weight, and a distilled visual logic.A highlight of Vestigios is the inclusion of Jørgensen’s Signature Works, a series of embroideries on canvas that enlarge the “trademark” gesticulations of successful Abstract Expressionists alongside the signatures of figures in power. By investigating the morphology of lines that have demonstrably shaped the world, the tapestries question authorship and authority. Executed in shiny white thread on a beige ground, they adopt a subtly feminine, discreetly luxurious appearance that contrasts with the more overtly masculine black‐on‐white originals. The restrained white‐on‐whiteness tempers bravura gesture, dismantling assertiveness and introducing productive ambiguity; read as a meta‐comment on artistic identity, these works probe the expectation that an artist’s output must be immediately recognisable in order to succeed.

Jørgensen’s work is held in a number of significant public and private collections, including Fidelity Investments Corporate Art Collection (Boston) and the Berkowitz Art Foundation (Miami). He has exhibited widely, with solo presentations in New York, Copenhagen, Kiel, and Venice, and has shown at the Statens Museum for Kunst (National Gallery of Denmark) in Copenhagen.