BARBARA ANNA HUSAR plays with the concept of evolution. There is no contradiction in that she is playing with the concept of creation at the same time, with the creative act, which the theory of evolution knows nothing about. She connects nature (evolution) and creation (art) through her search for primary potentials.

In doing so, BARBARA ANNA HUSAR uses the media of animated cartoon, painting, photography, performance, drawing, installation... her flying eggs are embedded in this web along with various other subjects, for instance her objects consisting of interlinked chip pans.
For BARBARA ANNA HUSAR the important thing is always to take care of the flow, transferring energy by never really switching off her smile and a generous breath of amorous fulfilment every now and then. Eggs are definitely significant in this regard. There is no symbol more feminine.

For BARBARA ANNA HUSAR, all this ties in with her on-going major project, started in 2007, a hammock consisting of the umbilical cords of goats from the desert of Sinai. The flying eggs turned up in drawings only last year, very fresh, they have already become fundamental to the further evolution of her inventive games.
For BARBARA ANNA HUSAR drawing is both a start and an ending as well as a transition state of all her phases. Her roots are in this medium. But the drawing branches out in multimedia-based unpredictable ways. As far as the web is concerned, a plan is held in her hand, calmly, just like an egg, flying.

Barbara Anna Husar is a visual artist, performer, director and writer from Austria. She studied at the University of Applied Arts in Vienna, at the Gerrit Rietveld Academy in Amsterdam, received the Austrian State Scholarship and is Hubert Berchtold awardee. The artist lives in Vienna and has a flock of goats in the desert of Sinai (EG). In Berlin, Beijing, Shanghai and Bilbao she was inter alia artist in residence. Her international activity in the exchange of information between cultures, fields of knowledge and artistic media she pictures with "I am a part, intermediate part and particle accelerator".

Published 4.4.2014
Edition: 840 each


Cordy Ryman , born 1971,New York City
Ryman earned his BFA with Honors in Fine Arts and Art Education from The School of Visual Arts in New York in 1997

Ryman’s artwork is characterized by recycled wood and metal painted and reconstructed with sculptural elements, mimicking the traditional canvas in their display. The materials Ryman uses include wood, gorilla glue, scrap metals, studio sweepings, acrylic and enamel paints and other found objects. When working with wood, he often keeps the rough jagged edges visible. This creates a very tactile surface. Ryman alters the surfaces of his artwork to change the appearance but still allows for the character of the materials to be recognized.

His works range from small to large and often interact with the spaces in which they are presented. When Ryman works on a smaller scale his paintings tend to be saturated with paint transforming the nature of the scrap materials he works with. The undulating surfaces of these works push the boundary between sculpture and painting.

Title: Wall press 4
Size 39x32mm
Published 19.3.2014
Edition 2100. (50 print Sheets)


Mogens Otto Nielsen represents the generation of Danish concept artists who since the early 1960s has made its mark in the international experimental avant-garde.
His special characteristic is his involvement in the global mail art genre.

Mogens Otto Nielsen  entire repertoire is enormous and unique. also video, and land art projects have been under development since, most recently in the workshop "ATMOSPHERE CONTROLLED".
Mogens Otto Nielsen have also arranged several Mail Art events.

Published 28.11.2013



Edition 375
Size 39x52mm
Published 14.11.2013

Morten Tillitz


This work is an attempt to launch a statement of the portrait genre, which has been used Passport top of each other,
and a Punch in its use skills to create the distance and abstraction.

Edition 630 each
Size 3,9 x 3,0 cm
Published 31.10.2013


Søren Dahlgaard began the Dough Portrait photo series at The National Art Gallery of Denmark in 2008 followed by massive media interest. Since the project has traveled to Vancouver- Venice- & Gwangju Biennales, the National Museums of Kosovo, Maldives, KIASMA Helsinki and the art centers of Israel, ECCO Brasilia, JCCAC Hong Kong, Ujazdowski Castle, Warsaw and The Photographers Gallery, London, where a new series of portraits are created and exhibited each time.


The success of the project seems to work on several levels: The event of creating the work with each person participating is fun, playful and engages the audience and creates an immediate reaction and exchange of ideas and experiences. Everybody can relate to their identity and a lump of dough. Its familiar to everybody but the combination is new.


The idea of the Dough Portrait is very simple, yet very original. It trickers a reaction from everybody but the concept has also depth due to the strong reference of the history of the portrait in both photography and painting. The Dough Portraits are opening up a new direction and breaking new ground in the history of the portrait. It is fun, even silly but in a clever and intriguing way. 


KIASMA Museum of Contemporary Art, Finland and Museo National Brasilia, Brazil have acquired a series of the dough portraits for their collection.


The Dough Portraits for is the second artstamp edition by Søren Dahlgaard.

Edition 75
Series of 25
Published 7.8.2013



Lrsa-Bo Jandrup (b. 1976)
Works and lives in Copenhagen/Denmark.

To me puppets represent the perfect vehicle for a caricature of identity. At one and the same time they reflect youth and playfulness as well as ordering functions like ideology, culture and capital. In other words, things that indexes to social places and things that are out of place. The tension that potentially emerges from a playful ambiguity between such order and exception is something that I find most interesting. This particular work, which in another form has also been part of the Apparatjik collective’s installations and performances at Serpentine Gallery and Neue Nationalgalerie, is an appropriation into three-dimensional space of an ad for baby pacifiers dating back to the constructivist era. A merged staging, that on one hand looks like a toy suspended in a void, while simultaneously comprising something that references generic structures linked to time and space. Overall: a problem in the form of a virtual puppet performance.

Lrsa has a background in electronic music and graphic design. (

Title: The Light Space Modulator
Series of 25
Size: 52x39mm
Edition: 75
Published 28.6.2013

WILLIAM ANTHONY is proudly to announce a new by the New York-based artist William Anthony (b.1934)     in conection to his upcoming  Exhibition at  Stalke Galleri from 13th. April 2013


There will be a dual celebration - an exhibition of William Anthony's paintings and drawings and a book of Anthony's work, also titled IRONIC ICONS. The book has been authored by Sam Jedig. It will be presented to the public for the first time at this event.

Anthony relentlessly lampoons everything from the insanities of war to the lunacy of the art world to the joys and woes of love. Anthony tells us that his style derives from the terrible drawing mistakes of his least talented students. The New York Times tells us that Anthony is "hilarious"  as well as "profound",  and that he has achieved the status of a "cult figure".

Published 20.3.2013
Edition 4200
Size 30x39mm

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Jenny Watson lives and works in Brisbane, Australia where she is Adjunct Professor at the Queensland College of Art, Griffith University. She has been exhibiting worldwide since 1973 and in 1993 represented Australia at the Venice Biennale. Her paintings, watercolours and drawings bring together the complex and humdrum elements of everyday life. Taking her Australian childhood as a main point of departure, her work exhibits an uncompromising examination of human nature and explore the boundaries of imagination. Rejecting literal depictions, her sketchy female archetypes convey the artist‚s alter-ego that encourage free association between image, language and memory.

Published 17.12.2012
Edition  2100


Mandalas made as presents for people , according to hospitalization on the department v6 at the psychiatric hospital  Nykøbing SJ. Denmark

The them is rainbows.

Publishing day 22.11.2012
Edition 150 each

JANET PASSEHL is proudly to annonce five Artstamps by Janet Passehl


In thinking about creating Artstamps, I first thought about postal stamps on letters flying through the sky above continents and oceans – envelopes bearing business papers, contracts, demands, requests, advertising or personal news.  While a piece of mail commonly uses language as a system constructed by human beings to convey information, an agreed upon means to an end, the Artstamp riding on its back can be a tiny missive from the more flexible and nuanced world of the poet-artist. Each of my Artstamps opens a small space that is larger than sky, because it is the space of possibility and imagination.

To create the stamps, I photographed fragments of my printed poems, pulling words, space and punctuation away from context. Children is extracted from the poem Brahmakamal, which was published in the journal Caliban Issue #7, p. 24. The entire poem can be seen at

The other Artstamp texts are from poems in progress.


Janet Passehl 2012


Publishing day, October 25th 2012

Edition each. 125

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Torben Ebbesen’s work contains frequent allusions to mythology and religion without for that reason representing ”literal” translation into the present of themes handed down to us by ancient civilisations.
What he prefers to do is to paraphrase certain motifs of mythical thinking, triad and trinity or the reference to water as life-giving element, a constantly recurring theme in Nordic mythology, These paraphrases are them selves part of an overarching conceptions which does not however become immediately apparent.

Publishing day, September 20th,  2012

Edition each: 750
size 52x39mm and 39x52 mm



The lozenge shape, which is dominant in the drawings, “Topographical reflections”, appearing on the stamps, emerged initially in Thomas Bang’s drawings from the mid-sixties. Since that time the lozenge image has occasionally re-appeared, primarily in sculpture- and installation contexts and generating various references.

As a result of one of Bang’s recent interests: Egyptian Funerary Portraits from the Roman Period, this image once again crops up in his work. The entire shape of these portrait paintings is roughly that of a lozenge. Bang’s interest focuses on the appearance of the realistic painting style of the mummy portraits (1st and 2nd century AD) as entirely isolated and incongruous images forced upon the context of images of a long standing Egyptian burial tradition.

This severe disruption of context and the near disintegration of image over time which many of the portraits suffered, served as the initial point of departure for this series of drawings appearing on the stamps. The conditions of incongruity and breakdown of image found in these portraits relate to Thomas Bang’s long standing interest in contexts of a provisional and fragile nature.

The distribution of components in the drawings relates to the location and activity of elements in the installation entitled “Seven attempts to create adequate apparatus for ordinary families. Attempt No. 1”, 2008, which is in the collection of Statens Museum for Kunst, Copenhagen.


Title: Topographical Reflections

Publishing day, March  2012

Edition each: 300

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ON  ARTSTAMP. DK GUEST is proudly to announce eight new by the New York-based artist William Anthony (b.1934)

For more than 45 years William Anthony has twisted and turned the conventions, clichés of and preconceptions about the world of images. It is clearly seen through iconography that it is pop. But it is also sub - Pop Art subconscious. A machine which displaces and distorts images.

New York Times describes Anthony as “A cult figure” and his work as “hilarious and profound”.
Quotes “I can’t wait for the New Testament. His is the first Bible I could Understand”  Andy Warholl for Anthony´s 1978 book BIBLE STORIES.
And from Laurie Anderson “…delightfully satiric drawings… a precocious enfant terrible…”

His work is today in the Collection of Museum of Modern Art, Metropolitan Museum of Art, Whitney Museum of American Art, Brooklyn Museum, Art Institute of Chicago , Ludwig Museum among others.

Over the last two decades, William Anthony has exhibited several times in Denmark through Stalke Gallery and since 2008 also produced art stamps

William Anthony has titled his new Art stamps as Miss  Lichtenstein Smiles Through Her Tears, Picasso Couple, Baby Doll, Very Small  Unidentified Non-Flying Object, A Friendly Face and simply Soup.

Publishing day December 2011



PUBLISHED 6.12.2011
SIZE 32X24 MM - 39X30 MM - 30X39 MM  AND 53X37MM

G36A    A FRIENDLY FACE                      ED         2200
G36B    MANUAL MANIFESTO              ED         2200
G36C    ARTIST WITH BERET                 ED         2200
             NON-FLYING OBJECT                ED         1260
             HER TEARS                                 ED         3150
G36EB            “                                        ED         1260    NO PERFORATION
G36F    PICASSO COUPLE                      ED         1470
G36FB    PICASSO COUPLE                    ED           840    NO PERFORATION
G36G    BABY DOLL                                ED         1260
G36H    SOUP                                          ED         1250
G36HB    SOUP                                       ED           750    NO PERFORATION
G36HZ    SOUP                                        ED         1000    COLOR VARIATION


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Little History of Economy”, 2011.  3 plates with glace

A.     A.H.

B.     J.S.

         C.      S.Q.


”There's not enough for everybody”

”Everybody or nobody”

”If there's not enough for you, it's your fault”


Edition 700

Published 17.11 2011





When death pays us a visit – that is the theme of Smike Käszner’s stamps. They are selected from a series of 10 drawings (ink/watercolour), inspired by Holbein the younger’s Death of Dance series. Hence the titles of these four stamps; Der Tod besucht den Künstler, Der Tod besucht den Einsamer, Der Tod  besucht den Gläubiger and Der Tod besucht die Hoffnung.

A reoccurring theme in Smike’s work is that of memento mori. Remember time is limited. And the only way to get more time is at the expense of space. In Smike’s mind time can be expanded if space is limited and vice versa. How much experiences can be put into a life – while still keeping a balance between time and space?

In this context Smike views himself more as an explorer rather than as an inventor. The role of the artist here is to map unknown territories and thereby witness and document alternative ways to fulfill the role of a contemporary human. How do we come yet closer to the question, of what we at the end of the day will regret we didn’t do?

Smike fans out his questions to involve events, graphic work, paintings, writing and video – the latter for example in the work done together with video artist Jan Krogsgaard, where the work consisted of 101 interviews with very old people, answering just one question: What here in life did you regret the most that you didn’t do?







Published 22.9.201



Aknowledging, as he does, his debt to the age-old traditions of art, Frithioff Johansen still works with the classic materials used in painting, sculpture and graphic art. His own inherent curiosity has, nonetheless, taken him a long way, in terms of trying out new  forms of impressions. Science and technology have provided one of the main sources of his inspiration for his work for many years.
Johansen has won international renown for his work with lasers and holograms. His magnum opus to date is probably the laser sculpture "Chaos Temple" which has become something of a symbol for the town of Holstebro. Other major works include the tower sculpture "Sfirot" in the town hall square in Billund,  "A Kind of Entropy" at the Flakkebjerg Research Institute, "The Virtual 'A'" in Kolding and the light sculpture "VD" in Skanderborg.  All these works include moderne technological tools such as computer work, lasers, holograms, fibre optics and LED light.

This stamp is inspired by recursivity. In a Dutch university's mathematical class you may be entertained by the metaphorical concept "The Droste effect". It refers to cocoa packing with a picture of a nurse with a tray with a cocoa packing with a nurse etc. In Denmark we are tought  "The Ota Solgryn effect"  by former professor Flemming Topsoe , who used an old oatmeal packing showing a running boy carrying an oatmeal packing with a picture of a boy etc. Have a look at:

Well - here we have a stamp with a picture of a stamp with a picture of … etc.

Edition 1250
Publishing day 1.9.2011

Thomas Wolsing

Thomas Wolsing graduated from the Jutland Art Academy and The Royal Danish Academy of Fine Arts in Copenhagen 1999. He lives in a remote part of North Jutland in Denmark and has moved to this area after living in Copenhagen for many years. His work includes installation, textiles and photography.

This artstamp depicts a large needlepoint or cross stitch picture of an old mill placed in a small village near the Northwestern coast of Jutland, in which the artist lives. The mill accidentally burned down and a needlepoint pattern was designed by the artist. Hereafter a woman from the area stitched a large picture before the traces of burnt pieces of wood was removed. Hereby Wolsing raises this burnt down mill to a kind of “Monument”.

This cross stitch picture is a part of a larger project named  MONUMENTS ON THE MARGIN shown at Skive Art Museum.

Rasmus Vestergaard, Art historian, writes about the project:

Based on digital photographs of old, dilapidated houses in North Jutland, the Danish artist Thomas Wolsing has created a series of embroidered pictorial works. Digital photos are computer manipulated and transformed into pattern paper and then declared to be hand-made old-fashioned needlepoint or cross stitch pictures.

Today, the cross stitch pictures only recycled lined entries and at home in elderly people - but we all know cross stitch pictures traditional rural idyll. Motifs depicting the pond, half-timbered house, old grandfather, the hens who roam freely between the houses. These silent, stylized and kitschy images documenting a bygone era of embroideries had a specific function as craft for women and media for rural people's self-understanding.

By turning the world upside down the motif revives Thomas Wolsing in MONUMENTS ON THE MARGIN embroidery as an artistic medium. The embroidered pictures depicting dilapidated houses.The houses which no one will own or have. The dilapidated monuments as time image resembling a Denmark in transition, on a growing polarization between city and country.

MONUMENTS ON THE MARGIN challenge our understanding of the cultural landscape - how we inhabit it, what is our mental image of "country" and how to take the "country" is actually out today. The specific subjects are all from North Jutland, where Wolsing live. And, the empty and dilapidated properties sculptural sadness is transformed into hand-stitched embroidery of women living in very northern Jutland.

More info: (online catalogue);

Edition 1428

Published 21.6.2010


Thorgej Steen Hansen


Thorgej Steen Hansen lives and works in Copenhagen, Denmark. He graduated from The Royal Danish Academy of Fine Arts in 2004 and has shown his work in both Denmark and abroad.

The two stamp series (Untitled / standard form) Thorgej Steen Hansen have done for – Guest is the latest manifestation of an ongoing series of works in which he stages the same pattern, the same standard form, in multiple ways.

The standard form is produced and presented in various sizes, materials, and medias:

The standard form can be shown as a single unit in the form of a drawing or a painting - or in some other form - but most often, as it is the case with the artstamps in question, it is presented in various series of different color combinations.

The standard form is also used as building blocks in more elaborated installations. And as split seconds of stills in continuous flows of ever changing color combinations in short animated films shown in loops.

The standard form was designed for the first time in 2007 as an element to be used among others in a large decoration assignment which Thorgej Steen Hansen completed together with the artist group Zedamator for the Rhythmic Music Conservatory in Copenhagen in 2008.

The standard form has since then been used by Thorgej as a significant part in both solo and group shows.


Series G30A (1-42) edition each 101


G30B  edition 2550


Mogens Otto Nielsen

Mogens Otto Nielsen represents the generation of Danish concept artists who since the early 1960s has made its mark in the international experimental avant-garde.
His special characteristic is his involvement in the global mail art genre.

Mogens Otto Nielsen  entire repertoire is enormous and unique. also video, and land art projects have been under development since, most recently in the workshop "ATMOSPHERE CONTROLLED".
Mogens Otto Nielsen have also arranged several Mail Art events

Mogens Otto Nielsen recently held an exhibition at the
Kunsthal North

Published 5.4.2011
Edition: 1000

Berit Heggenhougen -Jensen



Grow your hair! Stay in bed! In 1969, Yoko Ono and John Lennon converted their wedding into a Hair-Peace and Bed-Peace protest, which took place in a double bed at the Hilton Hotel in Amsterdam, where they stayed for a week.

Their actions were partly a protest against the war in Vietnam, and partly a demonstration for peace and love: stay in bed instead of going to war!

Grow your hair-ears! I reiterate, in a way, in my remix drawings: HAIR-EAR PROTEST.

Remix drawing because I revive a drawing that I made in 1993, shortly after I moved from Copenhagen, and continue working on it in 2010, in connection with the fact that I am moving again. But moving in another way this time. That is, I am moving from an imaginary place to another real linguistic place. I am relocating to a more linguistically pleasant place, and a place where there is room for the subject.

In these HAIR-EAR PROTEST drawings I direct my protest against both exclusion and cynicism. Protest against the distortion of history and the ways in which the subject becomes neglected; including the subject who is inscribed in the image.

Via the drawings I demonstrate in favour of a democratic society, something that can be taken for granted. The right to be a stranger in a democracy. A place where the human subject can also exist. And by the subject I mean the subconscious speech which is structured as a language. Subconscious speech which without doubt controls conscious speech, but without one ever realising it, in my experience.

Examples of historical distortions could be the following: if I claim that my drawings have balls. That the subject is not inscribed in the drawing. That the profiles in the drawings, subordinate to a copy scalpel, are constituted by Isabelle Adjani's nose; Beyoncé's temple, forehead and ear; Else Marie Bukdahl's ear hair; Elisabeth Roudinesco's lips and eyes; Mae West's chin; Nina Hagen's nape of the neck and eyebrow; Angelina Jolie's photogenic media profile; Lady Gaga's beauty spot; Mrs Smith's eyelashes; Gertrud Johannison's birth mark; Tina Turner's skin and breasts.


A. Hair without bra.

B. Sullen armpit hair.

C. Hair above the lip.

D. Hair without bra.

Oil pastel, pencil, charcoal, crayon, condom, 7-inch record, paper bow, remote control & bicycle saddle, on handmade paper, ca. 72 x 102 cm, March 2010.


Published 15.3.2010


The fusion of emotion and intellect is the driving force behind my work. From my point of view the complemental term for ratio(nality) is emotio(nality) rather than irrationality. Instead of advocating the polarity of reason and irrationality I strive to strike a balance between the logical and psychological aspects of human life. In how far can this equilibrium between heart and mind change the way we life, influence our decisions, our perceptions, or even the word we life in? In a society where emotionality all too often bears the negative connotation of indecisiveness, the so-called ratio tends to dominate our feelings.
My works are mostly mixed media productions, in which I aim to incorporate all aspects of our perception. Within this field, music - as a primary source of emotions - is of enormous significance and goes hand in hand with my visual art. Especially within the framework of my art performances, a variety of media are mixed together in order to address the perception of the viewer in a variety of ways. My goal is to touch their hearts and minds likewise.
For me holding my own hands/fingers has become a powerful method for creating my personal balance between thinking and feeling and to enter a level of consciousness which comes close to my personal perception of life in general. I experience this kind of „holding myself“ very relish, even erotic and the quite sexual attribute of the drawings, that one can get at first glance, express this and relate to the fact, that „to twiddle one ´s thumb“ can be an erotic experience.....

Published 25.1.2011
Series of 5 stamps
Edition 400  each

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Toshain’s work deals with the transition between interior and exterior worlds, the obscure interiority / exteriority of the  Subject / Object, the inseparability of the inside from the outside, the form from the content.

In the recent works (2010) the segments of visual communication condense. This fulfills a new functional level - visual functionality as a characteristic not of the body but of the mind.

A concept which also easily transforms into something different: structures, micro / macro networks, cages, crystals, machines, nature  – through hybridity, transformation, metamorphosis, mimesis, mimicry.

Iv Toshain lives and works in Austria.

Publishing day 25.1.2011
Series of 6 stamps
edition 420 each

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In ‘The Invisible Empire’ Jeannette Ehlers has worked with her father, Roy Clement Pollard, as narrator and
performer. Her father is from Trinidad, her mother Danish. By involving her own ethnic background she
magnifies reality to study the consequences of eroding information.
Ehlers` works thematically revolve around Danish slave trade in colonial times. With `The Invisible
Empire` she looks at today’s slave trade, also known as `human trafficking`. By introducing her father in
this context, she subtly intertwines her personal history with the narrative of the work. Her questioning
of historical ties and personal implications unfolds a strong pull on the viewer while raising awareness
for servitude in globalized societies.

Published  5.1.2011
edition 80

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U P C O M I N G   2013:

Søren Dahlgaard , August 2013
Lrsa-bo  Jandrup,  June 2013Morten tillitz, August  2013

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