Human Needs, 2013 – ongoing, size noted under each image. Looking into the nature of desire was the primary motivation behind these works. Forms in water and terrain are used to create visceral imagery. The aesthetic relationships appear at first glance as mirroring, and with longer looking nuanced differences. The works are created to be of scale, confronting the viewer’s body with forms and hues found in the Nordic landscape. The Print Ateliér represents selected images from Human Needs (external link).

Laisséz Unfaire (Lascia Fare), 2011-2014, photography, 77 x 115 cm (30 x 45 in), archival ink on epson matte paper.



Formed by wear & machine labor, formal studio-lit portraits of machined-washed residual become friendly posed objects. The remains were caught from the drying machine sieves in homes and laundromats in the USA. These machines are found to a lesser degree in countries, such as Norway or Japan, where plein-air drying remains common.



The first impulse to make the series was an interest in dust, magnetics, and accumulation. I wondered, could understanding a system come about through studying a byproduct of that system?



Invisible, often actually means marginalised or discarded, when there are often some material fact unexamined. By looking at these discarded objects in an archive, Laisséz-unfaire asks viewers to consider systemic changes in the way matters are handled.



Laisséz-faire systems, government remains out of business dealings. In a Laisséz-unfaire system, there are systems created for gathering remnants, and possibly entire systems created to manufacture remains.



In Italian, Lascia Fare means to Let It Be. In the dialectic and semiotic investigation, Laisséz-Unfaire (Lascia Fare), makes visible nascent knowledge embedded in the everyday life of machine and human labor. Perhaps in looking at portraits of byproducts, the machinations around the ideas of progress are revealed to evaluate their qualities.

Vereri, 2012 – ongoing, film photography, sizes noted under images. Nurturing a sense of reverence to the nature from which we come and return. Film exposures from Southern Norway landscapes depict pastoral stillness and sensual immersion in the visual field. To discuss nature, we must be prepared to consider brutality, grandeur, and movements leading to visible forms.

Monoliths is a collection of separate artworks containing: Under the Sun, Omniscient, Memoria Technika (5 images), Young Lovers, Cistern.

Under the Sun, 2015, 5 image panel, overall size 215 x 71 cm ( 85 x 28 in ), Film exposures realized as seasons, axiomatically marking the vertical landscape in relationship with the human body in magnetic resonance imaging. Reflected and refracted rays form a curvature filled and hollowed by literary translation of tactile qualities associated with the four seasons. The monolith as markers in chronoception – the sense and perception of passage through time.





Omniscient, 2015, 101.6cm x 304.8cm ( 40 x 120 in ), monolithic image and text: A monument of future history. The image stands as a totem for the change in social structure toward the wisdom of water. Water emerges as the discourse for the emotional body. The emotional body serving as the pathway for the wisdom of intuition. In the new world, emotional suppression as poverty and polluted waters cease through the cleansing of pain into ecstatic expression. Responsibility for water comes through the reverence of its high wisdom. Sacred in the new society, water is respected, protected, cherished and shared freely among people to create humane societies upon all lands. A reverence for water solidifies the respect and preservation of the emotional body constituting a humane society for humans to exist in.





Memoria Technica, 2015 – 2017, a series of 5 monolithic images, each measuring 90,64 x 180 cm ( 35,68 x 70,87 in ), Film exposures realized as seasons, axiomatically marking the vertical landscape in relationship with the human body in magnetic resonance imaging. Reflected and refracted rays form a curvature filled and hollowed by literary translation of tactile qualities associated with the four seasons. The monolith as markers in chronoception – the sense and perception of passage through time.

Virtual Material, 2014 – 2020, film photography and moving images. Memory, water, movement, looking at imaging technology. Photography series in Virtual Material are titled: Mouvement, Teknovisuell Experience, Affluo, Isen. The videos follow the series of still images.



Mouvement, 2015-2018, film photography, variable sizes. The Mouvement series reveals nuanced details in digital imaging technology. The images are informed by tensions in oil and water. The materiality of digital imaging technology, distance in viewing, and surreal representations in water forms are highlighted by minuscule film grains amplified after film scanning. The epistemology of water or way we come to learn and understand what water, is an ongoing endeavour. To then know what we are doing with technology, requires extended looking. The way something appears can obfuscate and reveal our relationship to the looking. Oil and water become elemental allegory for technocratic times. As Umberto Eco writes in several books on late modernity, images are read and our connections and relations are realised as a malleable surfaces. The natural beauty of the water is transformed by a hypnotic colour palette tied to screen technology. Viewing distances engage viewers in a sense of movement in stillness.

Teknovisuell Experience, 2015-2016, variable sizes. Water & digital imaging technology emphasise degradation process of uploading and downloading through social media. Installation of Detail #5 at Otis College of Art & Design engages relationship of body & space to the clarity of the perceived image. Various installation formats available upon request. The images are up and downloaded several times. The data to and from the phone is processed through data centers, sometimes in various continents. The images lose and gain some qualities, akin to the way people do when they travel. The Teknovisuell Experiences series was up and downloaded through social media channels 7 times, for each image. The final result then, a ritualised image, manipulated to highlight the qualities of the degraded visual elements. Still images are applied as wall coverings, and digital gifs of the images move the static light reflections of the waters’ surface, to visualise the idea of ghosts in the machines.

Sirens Series, 2014, photographic image on acrylic, size variable. Artist proofs available on paper. Digital audio files applied as grids upon film exposures of rural landscapes in a digital manipulation process.

Sublime Domains,2013-ongoing series. Digital print on matte paper. Sizes vary unless otherwise noted.