Trees and Architecture: Galleri Christoffer Egelund, Copenhagen, Denmark

Eamon O'Kane, an internationally acclaimed artist known for his thought-provoking works, delves into the relationship between the organic and the constructed in 'Trees and Architecture'. This exhibition features an array of paintings, drawings, and sculptures that juxtapose the natural beauty of trees with the architectural precision of glass houses. O'Kane's use of color, light, and form invites viewers to reflect on the delicate balance between the natural world and human innovation.

"Trees and Glass Houses" draws inspiration from historical and contemporary sources, weaving together elements of modernist architecture with botanical drawings of trees. O'Kane's work often references the utopian ideals of early modernist architects and the ecological challenges of the 21st century, creating a dialogue that is both visually striking and intellectually engaging. 

At the beginning of the 20^th century, a new idea greatly affected the world of art, architecture and design: The idea that form follows function, meaning that architecture and design objects should be designed so that they effectively fulfill their function, no more, no less – unnecessary ornaments were seen to subtract from the beauty of the object. This idea gave birth to modernist architecture with its simple shapes and striking lines – Frank Lloyd Wright’s house Falling Water (1935) and Mies van der Rohe’s Barcelona Pavilion (1929) among its masterpieces. 

By the mid-20th century, as environmental concerns began to gain prominence, modernist architecture started to adapt. The post-war era saw the emergence of a more context-sensitive approach, where some architects began to consider the ecological impact of their designs. The concept of "bioclimatic design" emerged, integrating climate-responsive elements into buildings. Architects like Richard Neutra (who coined the term Bio Realism) and Alvar Aalto began to incorporate natural ventilation, passive solar heating, and other environmentally friendly techniques into their work, blending modernist principles with ecological sensitivity.

This shift was partly a response to the limitations of early modernism. The large glass facades and open-plan designs that were initially celebrated for their aesthetic qualities often resulted in energy-inefficient buildings that required substantial heating, cooling, and artificial lighting. The oil crises of the 1970s further underscored the need for energy efficiency, prompting a reevaluation of modernist architecture's environmental footprint. The late 20th and early 21st centuries have seen a renewed focus on sustainability in architecture, driven by the urgent need to address climate change. Modernist principles have been revisited and reinterpreted through the lens of ecological responsibility. This period has witnessed the rise of "green modernism," where architects integrate sustainable practices into the modernist aesthetic.

Green roofs, energy-efficient glazing, renewable energy sources, and sustainable building materials have become integral to contemporary modernist designs. The movement towards net-zero energy buildings reflects an evolution in modernist thought, where the functionality and efficiency of a building are measured not only by its form and space but also by its ecological footprint

The concept of "regenerative architecture," which aims to create buildings and spaces that actively contribute to the environment, represents a potential future direction for modernism. This approach goes beyond sustainability, seeking to restore and enhance the natural environment through architectural design. By integrating modernist aesthetics with regenerative practices, architects can create buildings that not only minimize harm but also contribute positively to the ecosystem.

O’Kane’s paintings frequently depict modernist buildings as isolated within lush, almost overwhelming landscapes. This juxtaposition raises questions about the relationship between human-made structures and the natural world—a relationship that was often strained in the original modernist vision, which prioritized function and form over ecological considerations.

O'Kane's portrayal of modernist buildings surrounded by dense forests, overgrown vegetation, or expansive natural settings suggests a dialogue between the built environment and nature. In some works, nature appears to be reclaiming these structures, with vines creeping up glass walls or trees encroaching on once-pristine spaces. This imagery can be seen as a commentary on the impermanence of human achievements and the inevitable encroachment of the natural world on human-made environments. It is the double sidedness of the way we relate to modernism that Eamon O’Kane explores in his paintings. By depicting the work of the greatest modernist architects, he displays its beauty, but when rendered with paint, the sleek surfaces are disrupted, allowing us to see them in a different light, plants and textures accentuating the effect. O’Kane allows the viewer to actively think about their relationship to design, history and the effect that the spaces and objects that we surround ourselves with have on us. His work suggests that while modernism sought to create an idealized version of the future, it sometimes did so at the expense of the natural world. This critical perspective is particularly relevant in the context of contemporary concerns about sustainability and the environmental impact of architectural practices. O'Kane's paintings invite viewers to reflect on the legacy of modernism in light of these issues, prompting questions about how architecture can evolve to harmonize with, rather than dominate, the natural environment.

The history of modernist architecture is deeply intertwined with the evolution of sustainability, climate change, and ecological awareness. From its early days of industrial optimism to its current focus on environmental responsibility, modernism has continuously adapted to the changing needs of society. As we look to the future, the challenge will be to further integrate ecological principles into the fabric of modernist design, ensuring that architecture contributes to a sustainable and resilient world.

About Eamon O'Kane Eamon O'Kane (b. 1974) is an Irish artist living in Denmark and Norway. His work spans painting, drawing, sculpture, and installation. He has exhibited internationally, with works featured in numerous public and private collections. O'Kane's art explores themes of architecture, nature, and the human condition, often blending historical references with contemporary concerns. His work has been exhibited at galleries across Europe and the US and is featured in prominent collections like those of Kode Museum, Bergen, Norway; Lentos Museum, Linz, Austria; Burda Museum, Baden Baden, Germany and many other public and private collections. He holds a BA Joint Honours Degree in History of Art and Fine Art Painting from NCAD, Dublin, an MFA from University of Ulster, Belfast, and an MFA in Design Technology from Parsons School of Design, New York. Furthermore, he is a teaching professor at Bergen Academy of Art and Design, Norway. He is also a visiting Professor at the Royal Danish Art Academy of Fine Arts in Copenhagen where he is currently  leading the The School of Painting and Pictorial Practices.

The opening reception for "Trees and Glass Houses" will take place on September 13^th 2024 at Bredgade 75 in Copenhagen from 16.00 to 19.00. Eamon O'Kane will be present to discuss his work and engage with attendees. This event is open to the public, and we invite art enthusiasts, collectors, and the curious to join us for an evening of art and conversation.

For further information and sales requests, please contact the gallery at: hello@christofferegelund.dk or at +45 33 93 92 00. Visit us at Bredgade 75, DK-1260 Copenhagen K, Denmark. Opening hours: Wednesday-Friday 15:00-18:00, Saturday 12:00-16:00, or by appointment.