In Henrik Olai Kaarstein's first solo exhibition No Need For Good Luck at Gether Contemporary he investigates reproductions of memory and intimacy.

Comparing two pairs of photographs either blurred or crudely angled at its motif with different materiality framing and overlapping the images, he contrasts the explicit imagery and the sensitivity with the rough and delicate materials staging them.

By doing so Kaarstein draws the viewer in by the romanticism and the affection of the motifs presented. But at the same time the boldness of the format and the setting of the work create a drastic duality leaving one in a chasm between materiality and content.

For the exhibition Kaarstein has created a photographic installation. Two huge photographs mounted on red tape hang side by side in the room creating an effectful focus forcing the viewer close to the works and manipulating the inspection of them.

The adhesive tape covers the wall while the smooth, bright front creates a frame for the prints. The red wall functions as a constricting prop instead of a hanging system. Silk ribbons are tied around the prints, seemingly as a gesture of generosity and a present within the presentation.

In the gallery two smaller versions of the photographs are also presented, this time sleekly behind glass and meticulously framed. Drawing on the pop technique of repetition, Kaarstein duplicates the images, displacing and confusing the experience of the uniqueness and potential of each individual motif, to transform them into something familiar and experienced.

With the exhibition No Need for Good Luck Kaarstein exposes transforming relationships, with an outset in his own personal movements captured and laid bare to confront us.