A Clear Epical Dominance
A clear epical dominance / 2009 / 175cm x 125cm c-print/aluminium/laminate / Edition of 5 + 1 AP
A parasitic gesture / 2011 / 207cm x 150cm c-print/aluminium/laminate / Edition of 5 + 2 AP
Abnormal growth of gluttony / 2009 / 190x150cm c-print/aluminium/laminate / Edition of 5 + 1 AP
Basic Object Oriented Knowledge Systems / 2009 / 115cm x 164cm c-print/aluminium/laminate / Edition of 5 + 1 AP
Capacity to breed and recover / 2011 / 125cm x 183cm/ c-print/aluminium/laminate / Edition of 5 + 2 AP
Cold Comfort / 2010 / 125cm x 200cm c-print/aluminium/laminate / Edition of 5 + 1 AP
Connections # 05 / 2008 / 100cm x 100cm / c-print/aluminium/laminate / Edition of 5 + 1 AP
Don´t leave the lights on / 2009 / 125x185cm / c-print/aluminium/laminate / Edition of 5 + 1 AP
It´s common knowledge / 2009 / 187cm x 150cm / c-print/aluminium/laminate / Edition of 5 + 1 AP
Tables in the cradle / 2008 / 115cm x 183cm / c-print/aluminium/laminate / Edition of 5 + 1 AP
Along with the weather they came / 2008 / 84cm x 124cm / c-print/aluminium/laminate / Edition of 5 + 1 AP
The artistic process is a long one. Of course, it depends on how you define beginning and end,but I have been working on this project for seven years. Yes, it is about time to finish it. Ideas conveyed in the early beginning are still being photographed today. And ideas are added continuously. Art is a continuous process, and it is crucial that it never stops. Most importantly, one must allow ideas to mature sufficiently, and hence, to develop. At some points, ideas must be thrown away. I like getting my ideas down on paper with words rather than in sketches. Words develop much more efficiently in the mind’s visual context. The process from here is painstakingly long, and goes into many layers and details. The preparations for an installation are crucial since there are so many bits and pieces that have to come into place once on site. Though an installation is planned down to the smallest detail, on site, spontaneity is vital; you must take into account both the natural surroundings and the time when the work is photographed. What’s going on around me? What is on the world’s agenda?
On site, I usually work in complete solitude. The use of assistants is more of a distraction, and it removes me from feeling the nature and my surroundings. I let nature do a great part of the deciding when it comes to the rhythm and the expression of my works. The photography, even though it is usually the main product, is a small part of the work for me. But I shoot on large-format film, and the work that goes into it is therefore also extensive.
The types of objects I choose based on their properties and connotations. Of course they have to be able to play a part in whatever story I lay out. Most of them play on memories, but they are also a great symbol of mankind. And that is the most important to me.
The photographic medium has been a part of me since late childhood, and early youth. I used to work as photojournalist, and it was important to bring the medium with me. At the same time, when I started seriously working on art, it was important to leave photography behind, and liberate myself from it. That is why what I set up in front of the camera, is more important than the actual photograph being taken; the installation itself is where the final pictures are created.
Live installations—those presented to viewers in real life instead of as captured by a camera—are special, and I have exhibited quite a few of them over the last years. The approach is completely different. Working on a photography installation is converting 3D to 2D, and this gives the opportunity to work with perspective and to control the composition of the objects. When the installation is live, it becomes tricky, and its faults are much more easily discovered. People though, tend to feel that they get a more real experience when the installations are live. My photographs are also just real reproductions of the installation, but in life, this is emphasized. Doing these installations is very rewarding since the audience gives, what I would call, emotional feedback.
My interest in other artists goes in a different direction from my own work. I have always been inspired by classical landscapes, and the work of the naturalists in Scandinavia. I would like to mention Theodor Kittelsen, who is a Norwegian painter working from nature, and capturing the mysticism of nature.
Since an early age I understood that I had something in me that I had to convey, in one way or another. At that time art was not a part of the community where I grew up, and it took time before I found this path. The most important memories are still my nightmares, triggered by the doomsday prophecies about climate, and the destruction of nature, which started in the mid-eighties. This raised my awareness, and is still with me today.
Each image has its own story, and I don’t want to dictate this story. Some viewers are mesmerized by the beauty, and others go into the layers of the work. For me it is crucial to evoke certain feelings, and start a train of thought that will make us more conscious and responsive to the challenges of our time.