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A toilet seat, a dinghy, skis and lamps with yellow, green and white paint poured over them – step into a spatial spectacle of strong colours and appealing visual forms. At her solo exhibition at Overgaden, Jeanette Hillig (b. 1977) presents a series of entirely new works which inquisitively rediscover objects in the borderland between painting and sculpture.

Everyday utensils are treated in a playful manner in Jeanette Hillig's universe. Things are pulled out of their usual contexts and forced into new constellations, where the intrinsic properties of the objects once again reassert themselves: the belt tightens, the spear impales, the elastic stretches, etc. Hillig regards sculpture as made up of composite surfaces, and treats the materials – whether wall-mounted or free-standing – in an equivalent manner. On the one hand subtle and playful, and on the other precise and perfectionist, the works vacillate between disciplined and uncontrollable expressions.

With whimsical titles such as Tina Turner's hairdresser and 20 minutes in the Føtex Customer Centre, Jeanette Hillig opens up the works to narrative. But behind the apparent lightness lies an intense interest in the materials, a desire to demystify visual art and an ambitious approach to the possibilities of painting. When Jeanette Hillig pulls paintings off the wall and spreads them around the room, she does so from a desire to invite the viewer right into the picture to explore what painting is, and can become.