IN SIKNESS AND IN HEALTH
About nature, kinship and decay
For years I have been fascinated and visually intrigued by the decay in plants, and the similarities between plant structures and our own body. How skin, wounds, injuries and damages are repaired and restored or leave traces or scars. And how the beauty and fragility of plants and nature is identical to our own.
I am interested in how we read nature - How we look at and understand the close kinship between plants and ourselves, and how, and why humans see beauty in the broken and damaged, but at the same time condemn, Oppress and extort its existence.
2025
THE ENTRANCE OF AN ART PIECE
A project about outsiders (and institutional power)
I have noticed the textiles used in art exhibitions as You enter an art piece. The guest player in the grand scheme of things. Sometimes distinct, strict, or determined. The room, the randomness and the insignificant role fascinates me.
The photography’s in this series is collected over several years observing entrances of art installation in exhibitions. The surroundings of an art piece, how we define worthiness and a visual voice in the exhibition room.
The entrance of an Art piece It is not to be noticed, and it has no intentional role of being visible. It still inhabits a strong visual presence, and an aesthetic quality of its own. Does it signalize something? Have a meaning? Tell a story?
It’s a nobody …
I’m intrigued by its Intentional randomness. The fact of the function, and the explicit and wanted separation from the artwork. A functional thing, with no apparent meaning. The outsider. The underdog. Not entitled to a voice of its own, or to be seen as something noticeable, worthy of anyone’s attention. But still has place in the room defined by how the textiles fall, The light, The shadows, The chosen materials. A quietness of its own, and a beauty. A preface before the actual story. Supposed to be neutral, yet still creates a story of its own.
I am interested in how we read textiles. Its’s expression? How the textiles fall. The light. Sometimes fragile, vulnerable, imperfect, and totally insignificant.
Ongoing project.
THE COVERUP STORY
(Or The Pink Elephant)
The photography’s in this series is observing textiles covering things as a metaphor, it is a continuance of the project “The Entrance”. Still featuring textiles and the use of textiles in society in general and what they convey og hide.
Secrecy, holding back, or keeping something in “The dark”. Happening in random places. Still focusing on a not noticeable, non-intentional presence. I`m intrigued by its unintentional randomness. The fact of the function. A functional thing, with no apparent meaning. Something noticeable, not worthy of anyone’s attention. But still has an aesthetic quality and hold a sceneographic story as an unintentional stage.
Ongoing project.
PROMEMORIA
The peace and antiwar project
Reflections over work. Grini detention Camp was the largest detention camp in Norway, and transit camp for deportation of prisoners to Germany during the five years the Second World War lasted. Almost 20 000 Women and Men were held prisoners in this camp, during their stay some of them worked on the farms surrounding the camp. The Prisoners called this old Oaktree “The Post office”. They smuggled out and hid messages and letters to their loved ones, friends, family, and fellow resisters by the roots of the tree, some of these messages saved lives. How many is unknown.
Photographies is taken in the surrounding area of the camp, in one of the buildings, and in a preserved prisoners barac at Grini detention Camp.
2019