In the past years, Pedersen’s work has developed around her concept ‘sedimentality’ – a clever coupling of the words sediment and sentimentality. In several exhibitions and a publication, series of black and white photography of scenes from Pedersen’s surroundings (landscapes, bodies, buildings) are paired with images of cracked and broken clay, sprayed with neon colours or metallic paints.

Still, the matter-of-fact portrayal leaves the image open to our emotional projections, which in Pedersen’s universe seems to be an inevitable consequence of seeing. Our feelings, our bodies and the material world are weaved together, our mental landscapes a layered mass that moves and cracks.