Danish artist Thomas Dambo has brought his giant wooden troll sculptures indoors for the first time in a new Copenhagen museum exhibit.

The transition from wilderness to a gallery setting marks a shift in how sustainable art is presented to the public. By placing discarded materials within a formal institution, Dambo seeks to elevate the perception of waste and encourage viewers to rethink consumption.

Known for creating large-scale sculptures from recycled wood and trash, Dambo has installed almost 200 trolls worldwide [1]. These installations have appeared across 19 different countries [1]. While his work is typically hidden in forests or urban outskirts to be discovered by hikers, this exhibit brings the art to a structured environment.

The current display features five giant trolls [1]. The sculptures reach heights of up to 12 meters [1]. Sources differ on the exact venue and opening date, with reports citing the National Museum of Denmark or the Museum of Contemporary Art Copenhagen, and an opening date of either May 23 or May 24, 2026.

"I want people to see that trash can become something magical," Dambo said.

Mette Jensen, a curator at the National Museum of Denmark, said Dambo's work challenges the relationship with waste and invites visitors to imagine new possibilities for discarded materials.

Lin Chih-Wei, director of the Taipei Museum of Contemporary Art, said the indoor setting is a wonderful opportunity to showcase sustainable art to a broader audience. The exhibit aims to raise public awareness about waste and sustainability by demonstrating that reclaimed materials can possess aesthetic, and cultural value.

By removing the sculptures from their natural habitats, the exhibit focuses the viewer's attention on the construction and the origin of the materials—primarily reclaimed wood and debris—rather than the thrill of the hunt.

“"I want people to see that trash can become something magical."”

This exhibit represents a bridge between 'guerrilla art' and institutional curation. By moving recycled installations from public forests into a museum, the work shifts from a discovery-based experience to a focused commentary on the circular economy. It signals a growing trend in the art world to validate sustainability-driven practices as high art, potentially influencing how urban waste is managed and perceived in city planning.