Mixing animation, sculpture and sound, Nathalie Djurberg and Hans Berg create psychologically charged scenarios dealing with human and animalistic desires. Since 2001, Djurberg has developed a distinctive style of filmmaking, using clay animation to dramatise the basest of natural instincts from jealousy, revenge and greed, to submission and lust. Her partner, the musician and composer Hans Berg, conjures up the atmospheric sound effects and scores the hypnotic music for Djurberg’s animations and installations. In 2004 they began working closely together as a duo to create transgressive narratives rich in symbolic meaning and emotional reach, mining allegorical myths and grotesque, nightmarish visions in pieces, such as Tiger Licking Girl’s Butt (2004), We Are Not Two, We Are One (2008), and more recently, Worship (2016) and Dark Side of the Moon (2017). The artists' interdisciplinary collaborations increasingly blur the cinematic, the sculptural and the performative in immersive environments that pair moving images and musical compositions with related set pieces or built objects.

Mixing animation, sculpture and sound, Nathalie Djurberg and Hans Berg create psychologically charged scenarios dealing with human and animalistic desires. Since 2001, Djurberg has developed a distinctive style of filmmaking, using clay animation to dramatise the basest of natural instincts from jealousy, revenge and greed, to submission and lust. Her partner, the musician and composer Hans Berg, conjures up the atmospheric sound effects and scores the hypnotic music for Djurberg’s animations and installations. In 2004 they began working closely together as a duo to create transgressive narratives rich in symbolic meaning and emotional reach, mining allegorical myths and grotesque, nightmarish visions in pieces, such as Tiger Licking Girl’s Butt (2004), We Are Not Two, We Are One (2008), and more recently, Worship (2016) and Dark Side of the Moon (2017). The artists' interdisciplinary collaborations increasingly blur the cinematic, the sculptural and the performative in immersive environments that pair moving images and musical compositions with related set pieces or built objects.

Mixing animation, sculpture and sound, Nathalie Djurberg and Hans Berg create psychologically charged scenarios dealing with human and animalistic desires. Since 2001, Djurberg has developed a distinctive style of filmmaking, using clay animation to dramatise the basest of natural instincts from jealousy, revenge and greed, to submission and lust. Her partner, the musician and composer Hans Berg, conjures up the atmospheric sound effects and scores the hypnotic music for Djurberg’s animations and installations. In 2004 they began working closely together as a duo to create transgressive narratives rich in symbolic meaning and emotional reach, mining allegorical myths and grotesque, nightmarish visions in pieces, such as Tiger Licking Girl’s Butt (2004), We Are Not Two, We Are One (2008), and more recently, Worship (2016) and Dark Side of the Moon (2017). The artists' interdisciplinary collaborations increasingly blur the cinematic, the sculptural and the performative in immersive environments that pair moving images and musical compositions with related set pieces or built objects.