There’s something strangely comforting about the monsters inside EVERYDAY MONSTERS.

Not because they are harmless, but because they feel familiar.

At Monday Studio, Thit Aaberg and WeAreArt (Petra Sparrebro) invite visitors into a shared universe where emotions attach themselves to objects, materials become emotional extensions of the body, and ordinary things begin to feel slightly alive.

The exhibition unfolds through sculpture, wearable works, reconstructed textiles, jewelry, ashtrays, domestic fragments and creatures hiding in plain sight.

But Everyday Monsters is less interested in objects as static artworks, and more interested in proximity – the emotional relationship between people and the things they carry through everyday life.

“We wanted to create a universe where the monsters aren’t just something you fight,” Petra explains. “But something you try to understand.”

That idea moves through the entire exhibition. The monstrous isn’t presented as pure darkness or horror, but as something deeply human – tied to fear, loneliness, protection, shame and survival.

For Petra Sparrebro, the exhibition became a way of visualising emotional states many people already live with internally.

“I’ve been exploring three monsters that I think most people carry around in different forms,” she says.

One of them is the Heart Hammer Monster – a creature that destroys intimacy before anyone else gets the chance to. “It breaks your heart before somebody else can do it first. A misunderstood form of protection that ends in self-destruction and isolation.”

Another is the Mask Monster, obsessed with hiding darkness and negative emotions behind social performance and toxic positivity. And then there’s the Anxiety Monster, growing longer legs the more it gets fed by anxious thoughts.

“But the Anxiety Monster is terrified itself,” Petra says.

“Maybe you just have to give it a flashlight and a good book.”

That emotional duality, the softness and discomfort existing simultaneously, is also central to Thit Aaberg’s practice. Their works transform everyday objects into tactile companions balancing between cute, grotesque and strangely comforting.

“I love the ugly, the creepy and the magical parts of everyday life”  Thit says. “Always with this small inner mantra asking: would this be better with fangs?”

Their monsters often emerge instinctively during the making process.

“I was working with clay one day, and suddenly there was an eye staring back at me.”

Rather than becoming alive through perfection, objects seem to gain personality through flaws, scars and damage.

“The more scratches and imperfections they get, the more alive they become.”

In Everyday Monsters, the body itself becomes part of this transformation.

Not as something fixed or polished, but as something exposed, emotional and constantly shifting.

“We want to hyperfocus on transformation”  Thit explains. “The body isn’t something constant – it’s another creature. Another observer.”

The exhibition also extends beyond the gallery walls through wearable works, reconstructed clothing and collaborative pieces between Thit Aaberg and Rasmus Kongsgård, based on the photo series "KILLING LOLITA" originally featured in FANDENIVOLDSK magazine.

Together, the exhibition becomes less about escaping monsters – and more about learning how to coexist with them.

“I think monsters only become truly terrifying when nobody tries to understand what drives them,” Petra says.

And if the works themselves could whisper one final thing before visitors leave the space?

“Can you see me?”