Anne Katrine Senstad was raised in Singapore and Norway, today she lives and works between New York and Oslo, Norway. She received her art education at Parsons School of Design and The New School for Social Research in New York 1994 and 1999. Senstad’s practice lies in the multi disciplinary intersections of installation art, photography, video, neon sculpture, immersive installation, landart and site specificity, with a focus on the phenomena of perception and the cognitive system in response to the properties of light, sound and color, as well as her hybridized critical and poetic text based works on literature, language and philosophy through use of signage and commercial materials and commodities. Senstad is concerned with sensorial aesthetics, perception and the transformative, – the transcendental ideas of art and philosophical practices. Through advanced in depth research she has examined spatial, topological and scientific phenomena of light, sound and color since the mid 1990’s, a foundation for her explorations in the experiential, participatory and experimental. The inherent lyricism in her work, creates a bridge between psychological elements, materiality and these thematic concerns. In her ongoing field work, she engages in cultural, social and political interactions through active, organic and personal involvement for a wider educational and collaborative platform between diverse ideologies, developing a new folklore and amalgamation between post-modern individualism and internationalism. Notable exhibitions include Music for Plutocracy at S12 Gallery in Bergen, Norway 2021, Hyperborea at Fright & Volume Gallery, New York, 2020, Radical Light at Kai Art Center, presenting ELEMENTS IV, a 450 m2 all white spatial neon light sculptural work in the former historic submarine factory in Tallin with an enveloping sound by JG Thirlwell, How We Live Together at Yi Gallery in New York that included an online screening of Senstad’s short film Utopie/Utopia with acclaimed American actor Bill Sage created as a collaboration during the pandemic, Beckoned to Blue, SL Gallery New York presenting ELEMENTS III Blue with sound by legendary polymath Catherine Christer Hennix. The installation was an indepth examination of the color blue and accompanied by an antechamber installation The Sensory Chamber. Seen Unseen at He Xiangning Art Museum in Shenzhen, China, presenting the second of her immersive light sculpture and color environment ELEMENTS II, 2018 as part of a major survey on contemporary Nordic art and design. The installation is a continuation of ELEMENTS I, which premiered as part of the group exhibition Through The Spectrum at Athr Gallery in Saudi Arabia alongside James Turell, Robert Irwin, Carlos Cruz-Diez and Leo Villareal . Biennales include The Vanity of Vanities – a one person exhibition at El Magazen Dell’Arte during the 56th Venice Biennale with sound by JG Thirlwell, and UNIVERSALS, at Officina Delle Zattere, Collaterali Eventi, 55th Venice Biennale as part of the exhibition Metamorphosis of the Virtual alongside ORLAN and Miguel Chevalier amongst others. In 2015 she produced a 90 ft / 22m long text based LED sculpture commissioned by the Bruges Art and Architecture Triennale in Belgium entitled Gold Guides Me, as part of her continuing critical research project Capitalism in the Public Realm. As part of the Prospect 3 +, the New Orleans biennale, 2014, The Sugarcane Labyrinth was presented as an interior agriculture and film installation the centerpiece of the exhibition The Nature of Now.