Alexander Brix Tillegreen (b. 1991) is a visual artist and composer educated at the Städelschule, Frankfurt, and The Cooper Union, New York. Based between Copenhagen and Berlin, and currently artist-in-residence in London.
His practice is marked by a continual cross-pollination between painting, printmaking, sound installation, sculpture, video, and composition. He explores how perception, abstraction, and embodied listening shape meaning and activate the unconscious.
Utilizing abstraction and formal ambiguity, his visual and sound works stimulate the imagination and trigger personal and collective memory.
The sound works investigate how language, voice, and psychoacoustic phenomena shape perception. The voice is treated as a material that both carries and dissolves markers of identity. Through his ongoing research into the phantom word illusion, he examines how perceived words and meanings arise through movement and the listener’s linguistic and cultural background. Using site-sensitive, spatialized audio, he creates immersive listening situations that foreground shifts in perception and the co-creative force of the listener.
His compositions span electronic music, multichannel installations, and notated music, often developed in collaboration with leading performers in contemporary classical music.
Central to his painterly practice is an exploration of temporality and the cyclical rhythms of organic processes, resonating with notions of sonic perception and musical thinking on the canvas.
Tillegreen is fundamentally drawn to abstraction for its ability to harness several shifting perspectives simultaneously, allowing him to distill transitory phenomena. He is invested in the fluid transitions within psychological, bodily, and natural states. Across biological processes—from spawning and vegetation to celestial movements and aquatic life—energy is continuously transferred from one state to another through accumulation, release, decay, and regeneration.
The symbolism and anatomy of musical instruments, music theory, architecture, and the voice recur as leitmotifs throughout his work. Here, acoustics serve as a metaphor for the dynamics between body and landscape.
Ultimately, Tillegreen’s process as a painter and printmaker is guided as much by sonic sensory input and the act of listening as it is by vision.
While many works share open relationships across media, others function as scores, notations, or are developed in direct relation to his sonic compositions, inviting the spectator to navigate the thresholds between what is heard, what is seen, and what is embodied.
In several exhibitions, Tillegreen has developed works in direct dialogue with artworks by other artists he selected from museum collections, exploring the seams between visual, spatial, sculptural, and sonic forms. This includes sound works developed in dialogue with artworks by Mary Vieira, Charlotte Posenenske, Isa Genzken, Rosemarie Trockel, Auguste Rodin, Édouard Vuillard, Francis Bacon, and others.
In 2023, he presented a cycle of new commissioned sound works for the Darmstädter Internationale Ferienkurse für Neue Musik, and in the same year released his debut album in words on the acclaimed German electronic music label rastermedia.
Tillegreen’s work has been the subject of numerous institutional solo and group exhibitions, including Nikolaj Kunsthal, Copenhagen (2025), CCA Glasgow (2024), A Bruit Secret – Hearing in Art at Museum Tinguely, Basel (2023), O–Overgaden Institute for Contemporary Art, Copenhagen (2022), FuturDome Museum, Milano (2022), Kunstverein Göttingen (2022), Kunstforeningen GL Strand, Copenhagen (2023), MMK Museum für Moderne Kunst, Frankfurt (2017), and the National Gallery of Denmark (2008). He has presented his music at festivals and venues including STRØM Festival, Roskilde Festival, CTM Festival, ISCM World New Music Days, and Nordic Music Days (2024).
He recently developed new commissions for ensemble mosaik (DE), Riot Ensemble (UK), and a solo exhibition at Kunsthalle Mannheim, Germany.
Alexander Brix Tillegreen (b. 1991) is a visual artist and composer educated at the Städelschule, Frankfurt, and The Cooper Union, New York. Based between Copenhagen and Berlin, and currently artist-in-residence in London.
His practice is marked by a continual cross-pollination between painting, printmaking, sound installation, sculpture, video, and composition. He explores how perception, abstraction, and embodied listening shape meaning and activate the unconscious.
Utilizing abstraction and formal ambiguity, his visual and sound works stimulate the imagination and trigger personal and collective memory.
The sound works investigate how language, voice, and psychoacoustic phenomena shape perception. The voice is treated as a material that both carries and dissolves markers of identity. Through his ongoing research into the phantom word illusion, he examines how perceived words and meanings arise through movement and the listener’s linguistic and cultural background. Using site-sensitive, spatialized audio, he creates immersive listening situations that foreground shifts in perception and the co-creative force of the listener.
His compositions span electronic music, multichannel installations, and notated music, often developed in collaboration with leading performers in contemporary classical music.
Central to his painterly practice is an exploration of temporality and the cyclical rhythms of organic processes, resonating with notions of sonic perception and musical thinking on the canvas.
Tillegreen is fundamentally drawn to abstraction for its ability to harness several shifting perspectives simultaneously, allowing him to distill transitory phenomena. He is invested in the fluid transitions within psychological, bodily, and natural states. Across biological processes—from spawning and vegetation to celestial movements and aquatic life—energy is continuously transferred from one state to another through accumulation, release, decay, and regeneration.
The symbolism and anatomy of musical instruments, music theory, architecture, and the voice recur as leitmotifs throughout his work. Here, acoustics serve as a metaphor for the dynamics between body and landscape.
Ultimately, Tillegreen’s process as a painter and printmaker is guided as much by sonic sensory input and the act of listening as it is by vision.
While many works share open relationships across media, others function as scores, notations, or are developed in direct relation to his sonic compositions, inviting the spectator to navigate the thresholds between what is heard, what is seen, and what is embodied.
In several exhibitions, Tillegreen has developed works in direct dialogue with artworks by other artists he selected from museum collections, exploring the seams between visual, spatial, sculptural, and sonic forms. This includes sound works developed in dialogue with artworks by Mary Vieira, Charlotte Posenenske, Isa Genzken, Rosemarie Trockel, Auguste Rodin, Édouard Vuillard, Francis Bacon, and others.
In 2023, he presented a cycle of new commissioned sound works for the Darmstädter Internationale Ferienkurse für Neue Musik, and in the same year released his debut album in words on the acclaimed German electronic music label rastermedia.
Tillegreen’s work has been the subject of numerous institutional solo and group exhibitions, including Nikolaj Kunsthal, Copenhagen (2025), CCA Glasgow (2024), A Bruit Secret – Hearing in Art at Museum Tinguely, Basel (2023), O–Overgaden Institute for Contemporary Art, Copenhagen (2022), FuturDome Museum, Milano (2022), Kunstverein Göttingen (2022), Kunstforeningen GL Strand, Copenhagen (2023), MMK Museum für Moderne Kunst, Frankfurt (2017), and the National Gallery of Denmark (2008). He has presented his music at festivals and venues including STRØM Festival, Roskilde Festival, CTM Festival, ISCM World New Music Days, and Nordic Music Days (2024).
He recently developed new commissions for ensemble mosaik (DE), Riot Ensemble (UK), and a solo exhibition at Kunsthalle Mannheim, Germany.