I see my art as a way to interlace, reframe, display, and blow up restrictive social situations - a way to give ground for new versions of truths. I aim at showing the deepest of human emotions, love and relations beyond given representational structures.
My work often begins as an act of resistance. I’m frustrated with the way prejudice towards difference is programed into our consciousness through visual media: human life is undervalued. I trouble over many questions: How do archives, advertising, broadcast media and other institutions rewrite and ratify our histories? How can such rewritings become techniques of oppression and limitation? What can be revealed when we excavate and reframe mainstream narratives to show what has been erased and excluded? How can small- scale image-makers, like artists, disrupt the narratives of mainstream broadcast media?
In my studio I find myself occupied with two recurring activities: the creation of an alternative archive of visual material and developing strategies to foster a visual culture that includes a range of different bodies, identities, relationships and narratives. My main focus is to shed light upon the hidden, forgotten and untold by addressing questions of human existence and value and of gender- and identity-based rights. I strive to bring attention to the oppression of women and of transgendered, queer and other subjects who live in a state of ‘otherness’ relative to the hetero-normative.
Aspects of vulnerability, intimacy, healing/transformation, sexuality and bodily politics are often included in my projects. The work process is partly driven by results of research, personal experiences and philosophy, but I often find myself listening more to the voice of the work itself, following where the process leads more than sticking to my original idea. It’s important for me to consciously keep my work vibrant and alive until the very end, making room for critical comments, beautiful accidents and intuition.
My practice is multidisciplinary, including sound, performance, video, photography, sculpture, and spatial installation. When I choose materials, I'm often looking for some kind of play with opposites: combining surfaces and textures, coated and uncoated, fragile and solid. My visual aesthetics is influenced by a mix of fashion photography, club culture, queer environments, anthroposophy and classical metaphorical visual language - and the colour schemes of Scandinavian landscapes. The subject matter I work with is often ignored or trivialized by public media and I therefore feel compelled to employ large gestures and formats: long durational works, oversized prints, multi-channel video, and expansive installations.
I want to reclaim the large scale of advertising and infuse it with other histories by utilizing advertising’s photographic techniques, such as interlacing, reframing, and blowing-up. I also feel the need to repeat my gestures using traditions of ritualistic practice, which is a main tactic in my performance work. My body of work is connected by the choice of subjects and themes and by the way I use storytelling, narration, rituals, participatory elements and a specific language of visualization.
As I continue my practice, I hope to expand and enrich my archives of image, sound, and experience by connecting with a broader range of bodies and identities. I also look forward to expanding my work through other materials, technologies and subject matter in order to explore and challenge my limits as a human being and visual artist.