HEAVY WATER (TUNGTVANN), film photography, 2017.

The Tungtvann (heavy water) series frames elements of the nature landscape to expose the psychological nature of conflict. Fog, dampness, evasive senses of what has or is about to happen. Made at two sites of water: One, the Vemork heavy water factory in Rjukan, Norway, and the other Maridalsvannet, Oslo’s drinking water.

During World War II, Hitler and his regime believed heavy water was necessary to develop nuclear technology. Under forced labor and threat of losing their lives, the workers chose to resist orders and break small parts of the production. Due to their resistance, advancement of the technology was thwarted. Much of the heavy water produced sunk in the lake, in another covert operation.

Water and heavy water are very different expressions of the same element. The aim of tracing the way those elements are treated by human choices aids in understanding the different outcomes produced in nature and technology. Previously open to be skied and skated upon during winter, the drinking water in Oslo became a fenced off due to city development.

Water itself goes through many cycles within the season, and remains a subject in the psychological landscapes. Looking to convey the details in nature related to a history where small, deliberate acts of resistance or change lead to a substantial contributions over time.





RELATIVELY DIMENSIONAL STILL-LIFE, 1919 IN 2017, 5 image set, archive ink on digital negative film (13 x 19 inch). Ltd. edition of 3. The candle, a tradition in Dutch still-life painting is realised through a utopian ideal of dematerialised reality. Extreme minimalism and IKEA interior objects are filtered into CMYK printing channels and layered to create a ghostly image, as a representation of the way images layer and flow before our eyes on digital screens.





CULTURAL EXPORTS, 2017- ongoing, archival digital print on paper, images 50.8 x 7 cm (20 x 30 in).




  • Digital images, 2015-2016, printed at 61,04 x 76,2 cm (24 x 30in)


INSTALLATION OF DETAIL #5 at OTIS COLLEGE OF ART & DESIGN engages the relationships of body & space to image technology through the clarity of the perceived image. The imaging processes themselves displace and reform pigments and images, creating fuzzy borders. The Teknovisuell Experience series represents, through images of water, aesthetic and ethical qualities technology raises in our societies.




TEKNOVISUELL EXPERIENCE DETAIL  #5, VIRTUAL MATERIAL SERIES, public installation, Otis College of Art and Design Admissions Office, Los Angeles, California, 2017. The Teknovisuell Experience works are part of a larger body of work titled Virtual Material.

The images in Virtual Material involve several layers in the materiality of the image, systems and processes in imaging, the vision-body relationship, and ways civilisations form understandings of nature. From an empirical, materialist philosophical standpoint, the works reflect on age-old discussions between Platonic and Sophist ideas, and the places spiritual and scientific ideas are permitted. Through the emphasis on the ethereal nature of screen-based technologies, the Teknovisuell Experience Details take-up these conversations both through the processes in which they were created and in the results of the viewers interactions and memories with images. By engaging the physical body with the vision, the distance in viewing engages viewers’ bodies in the opportunity to look at processes otherwise invisible to users of screen-based technology, but evident to builders of technology such as R&D, the coder, manufacturer and marketer. The details in Teknovisuell Experience were composed of the decomposition of images up and downloaded through social media channels; 7 times for each image. The final images reconstitute a representation, highlighting the way images become a form of cultural ritualisation. By further manipulating the image to highlight degraded visual qualities, and print at large scale or clip sections out as fragments, the various installation formats available engage viewers in contemplation of the areas in an increasingly liquid society. The scale and application of the image evokes motifs and patterns found in traditions of totems and textiles. Still images applied as wall coverings, pillars, scrolls or flags. Digital gifs of the images afford exhibition on screens and move static light reflections, creating visually ghostly movements.



MONOLITHS (ongoing)

 Monoliths is an ongoing collection of separate artworks containing: Omniscient, Under the Sun, 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.



Sjkel Shell Sjel


Understanding the meaning of soul, confounded me and philosophers for centuries. One summer day while solo bathing at Bygdøy sjøbad I came to a solid discernment that the shell is both the soul and not the soul- that the container for the soul and the container itself contain the soul.

As with many of understandings come through follied logic, the etymology and meaning of words I posit have an origin within the body. The tongue attempts to make a mental mark with the sound transmission. Pointing toward and uttering sounds to convey “that” or “is”. Of course once the soul has passed, we have only the shell as a remaining reminder of the soul that once coursed through. In the instance of some materials, even a hardened shell can become ground down and return to dust.

In shorter form:   Sjkel is the Norwegian word for Shell. Sjel is the Norwegian word for soul.

In a wordgame, the mark between a shell and a soul is the form: K.





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).







ULTRAVIOLET FOREST, 2015-2016, size variable. Images cast in UV spectrum. Forensics, UV spectrum, and the phenomena of phosphoresce are used to realise a surreal spectacle of visual imaging technology as replacing the reality of the landscape. Starved Rock State Park in Illinois was the original place the images were made. The historical site of conflict become a physical monolith by layering the representations into monoliths.




INCARNER DES ROSES, 2016, film photography, sizes variable. Incarner des roses means to embody the roses. The rose has long been identified for beauty and symbolic memory of the process of life. The series carries the final blossoming to a final meeting of the river, as a current of life. The artwork was made a mistaken gift. The bunch of roses a trope of romance, signifies a formality that begs of no specific recipient. The gift was denied for its lack of direction. The roses were taken to the stream, photographed and developed to highlight the colours and forms.