Twilight Sheets

Keeping the flowers alive a little longer, my mom always used worn bed sheets to protect the plants around the house from frost. I sometimes felt the weight of the cotton would break the stems, but instead they knew how to bow to accommodate the weight of protection. Dappled in twilight dew, the sheets I had seen for decades gave me pause. Because I’ve had this impulse to hug what I see, and like the urge to cut a rose brings about the plants imminent death, I refrain. In pause, hanging in limbo, the sense of longing to touch, embrace, be protected, pushes me a few steps back to look. I gaze in a tearful gratitude at the sweetness of such a gesture. Studying the folds of sheet similarly to appreciating the lines formed through centuries in rocks. The patterns of the bedding mimicking the very plants they cover. Such sentiments are loathed in the artworld today, and so I hid these photos, as many others away. Occasionally tucking in projects, quietly on an internet that could power down any day, I remind myself to print these. Or draw them. Maybe paint, but why? The clinging to these ineffable moments illuminates this place behind my nose, and so it’s really the scent of these bed clothes and damp plants that delivers me the present. But I’d still like to look just a little longer. In looking, I forget about fights, I forget about hunger, I forget about anything other than the sort of illuminated pleasure looking at and performing caring gestures gives. These are invisible to the world, such gestures, saved for healthcare catalogues and tending crisis made by wars. I linger longer perhaps because I hope these plentiful actions of care become more in focus in our collective psyches. Because if the psyche really means spirit, who doesn’t feel caring and cared for, can’t really see any reason to change. It’s hard to light a protected and damp plant on fire. Perhaps putting out the fire in the minds of men would deliver the care people are crying for.


Norway House Foundation

Photography for: The Norway House Foundation

“funds programs promoting educational and cultural exchange between Northern California and Norway. We support fellowships for Norwegian students to study in Northern California, scholarly exchange between Norway and Northern California, and programs of Norwegian cultural interest. The Norway House Foundation is dedicated to honoring and preserving the memory of the Norwegian seafarers who risked their lives for the Allied cause in World War II.” curated an image I made around 2009 in Isla Mujeres, Mexico. Click this text-link to collect prints rom the limited edition. is inspected, and personally approved by Daniel Miller, director of Duncan Miller Gallery, a specialist in important classic and contemporary photographic works of art, and owner of the largest collection of vintage photographs on the West Coast of America. Located in West Los Angeles, California


10959 Venice Blvd
Los Angeles, CA 90034

Tel: +1 310 453 1111

Hours: Tuesday, Wednesday, Friday, Saturday: 11 am-6 pm
Or by appointment: Please contact us to schedule an appointment

Staff: Daniel Miller, Caitlin Lennon

TBK Utstillingen

The Midwest, aquarelle, Y-Blokka, sculpture, on Exhibition through Trondheim Kunstforening this summer. Available for purchase (to bring home after the exhibitions).
26 June – 08 August
Thursday kl. 12 – 18
Friday kl. 10 -16
Sat/Sun kl. 12 – 16
14 August – 22 August
Monday – Sunday kl. 12 – 18
28 August – 04 September
Monday – Friday kl. 14 – 19
Sat/Sun kl. 11 – 16
The painting was made during the Kjerringøy Land Art residency with guide of Sami-Norwegian painter, Gerd Grimsø. The memory of Colorado and Illinois landscapes merge with new impressions of Nevelsfjord in the abstract aquarelle. The Y-Blokka sculpture was made of a long bar of imported olive oil soap during the ongoing conflict of removing the Y-Blokken at Akersgata 44, 0180 Oslo. The protest for the plan had great public momentum but no effect in saving the city planning changes to raze the building. The idea for the soap sculpture is the relationship to the Y form and the impermanent qualities it has in both genetics and light. The bond between X and Y is dissolved in water, just as the soap will eventually become lesser and lesser when exposed to water. Yttrium and additional elemental qualities are connected to the Y-form. “The structure, the making and demolition, when brought into light with the human relationship with environment seemed evident to me, but wasn’t something people seemed willing to come to terms with. Perhaps only in the intimate moments of grief, do humans reflect on the memory of what their actions cause.” -Rachel W. Please visit this website for complete information: 


BODY LINE, 2021, 10:01 minute, single-channel video with stereo audio. Performance and edit by Rachel Wolfe, sound composition and arrangement by Zainab Lax and Oh No Noh (Markus Rom). Filmed at Selbusjøen, Trøndelag, Norway. First exhibition July 2021, The World We Live In, Groningen, Netherlands.

Based on the Norse shape shifting water nymph mythologies, the form gains a darkened torso during time on land, before rejoining with body of water. Symbolically drawing the human body and body of water as connected through the darkened core. The elemental nature of water becomes embodied by in the Body Line performance, exposing relationships between vision and body, landscape and humanity through the allegorical water nymph myth. The line between sensual and sexual is distinctly drawn by the arch of emergence, struggle, and return. During a liquidity of change in human sensory relationship to the environment, the visual impressions of the audio-visual experience are created to project in spaces and emerge on screens. The language of water and body, invites a memory of emergence to life.

Contact: to arrange for exhibitions or screenings of the film.

“Delicate and sober as always. The staging and performance of the slow and soft movements fit perfectly with the mountains and the water surrounding the figure. Had the video lasted two hours, I would still want to see more.” – John Wagner


Born 1990 in Weiden i.d.Opf., Germany, has studied electrical guitar in Weimar and Leipzig. As an instrumentalist and composer he is active in all kinds of musical formations and interdisciplinary productions – mainly in his solo project „Oh No Noh“. Besides that he composes music for film and multimedia. Markus is mostly at home in the broad fields of experimental indie, electronic and ambient music. Apart from playing instruments (mostly guitar, also bass and synths) and using Ableton Live, he likes to find sounds by modifying things like cassette tapes, telephones and gameboys and integrating them into his musical setup.

Zainab Lax was born and raised in Germany. She is a multi-instrumentalist and music therapist, with specialisation in Harp. With a western classical background she later focused on several eastern instruments such as the Indian Sarod and the Iranian Tar. With roots in Germany Turkey, India, Afghanistan, and Turkmenistan, Zainab has the flexibility and cultural sensitivity to easily adapt to other cultures. In 2017 she graduated as a music therapist at ArtEZ Conservatory in Enschede, Netherlands. She is currently completing a Master at the Center for World Music in Hildesheim, Germany.



BLÅTIME SOL, 2020, 5:50 minutes, single channel video for projection. Film, performance, edit by Rachel Wolfe. Original soundtrack by Mehmet Dogu. Sun video, clay sculpture, and text by Mudi Hachim. This film was made possible by the support of AiR Kjerringøy, Bodø Kommune, KORO, and Kulturrådet.


Contact: to arrange for exhibitions or screenings of the film.


2021 Film Festivals: Prague International Film Festival; New York Tri-State Film Festival, Award Winner, Pure Magic International Film Festival, Amsterdam, The Netherlands; ISAFF International Symbolic Film Festival, St. Petersburg, Russia; Fullshot Film Festival; The World We Live In, Groningen, Netherlands

2021 Exhibitions: 4th Edition Les Voyagers, Musk and Amber Gallery, Tunis, North Africa; Equinox Exhibition, Bodø Kunstforening, Norway


The Sun’s Traveling

As a dream, the screen technology transmits the sun. The process of solar transmission evokes a memory of the first moment we see sun in our life. The warm sunlight resides within us forever. The video consists of transmitting sunlight through a video. The clay bowl used in this work contains writing from texts originating from The Epic of Gilgamesh (the sun within you). The texts and container return the memory to the sun within; even in darkness, this light remains. The four sections drawn represent stages of the idea, or revelation, of this project from idea to certain, to implementation. The performed ritual represents the process of transmitting light.