TUNGTVANN (HEAVY WATER ), film photography, 2017.

The Tungtvann (heavy water) series frames elements of landscapes to expose psychological nature of conflict: fog, dampness, evasive, grainy senses of what has or is about to happen. Consisting of two sites, the series brings together present day remains of preserved Vemork heavy water factory in Rjukan, Norway, and Maridalsvannet, Oslo’s drinking water. During WWII, 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.

The series is represented by Albumen Gallery.













RELATIVELY DIMENSIONAL STILL-LIFE, 1919 IN 2017, 5 images as a set, archive ink on (13 x 19 inch) digital negative film. Ltd. edition of 3. The candle, a tradition in Dutch still-life painting is realised in CMYK representation of IKEA Interior Objects, as a representation of the way images layer and flow before our eyes on digital screens.





















TEKNOVISUELL EXPERIENCE, Virtual Material, Public Installation of Detail #5, Otis College of Art and Design Admissions Office, Los Angeles, California, 2017. The artwork engages the relationships of body & space to image technology through the clarity of perceived images. The imaging processes displace and reform pigments and images, creating fuzzy borders. The Teknovisuell Experience series represents images of water as aesthetic and ethical qualities technology raises in our societies.


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.


Digital Image, 2015/6, sizes start at 61,04 x 76,2 cm (24 x 30in)

Digital Image, 2015/6, sizes start at 61,04 x 76,2 cm (24 x 30in)

Digital Image, 2015/6, sizes start at 61,04 x 76,2 cm (24 x 30in)

Digital Image, 2015/6, sizes start at 61,04 x 76,2 cm (24 x 30in)

Digital Image, 2015/6, sizes start at 61,04 x 76,2 cm (24 x 30in)

Digital Image, 2015/6, sizes start at 61,04 x 76,2 cm (24 x 30in)



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.





















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 serves as a symbol for beauty and memory of life processes. The series carries blossoming to a final meeting of the current of life. The practice of rose offering carries varied cultural significances. The series is represented by Albumen Gallery.
















 Monoliths is an ongoing collection of separate artworks on seasons and time containing: Neoplatonic, Memoria Technika (5 images), Capsula: Young Lovers, Capsula: Cistern, Tabes, Currere I, Currere II, Concanate I, Concanate II, Esker, Luna Cascade, Anaphora, Omniscient, Under the Sun, 30seconds of Lake Michigan, Melody, Undulation.


NEOPLATONIC, 2018, Film exposures digitally joined. 



MEMORIA TECHNICA, 2015 – 2017, a series of 5 monolithic images, sizes vary, recent exhibition of the monoliths measured 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.




CAPSULA: YOUNG LOVERS, 2017, Film exposures arranged as a horizontal monolith. 



CAPSULA: CISTERNS, 2017, Film exposures arranged as a horizontal monolith. 



TABES, 2017, Four Film exposures digitally joined. 



CURRERE I, 2016, Film exposures arranged as a horizontal monolith. 

The Print Ateliér represents this artwork (external link).



CURRERE II, 2016, Film exposures arranged as a horizontal monolith. 

The Print Ateliér represents this artwork (external link).



CONCATENATE I, 2016, Film exposures digitally joined. 



CONCATENATE II, 2016, Film exposures digitally joined. 




LUNA CASCADE, 2016, Film exposures digitally joined. 

The Print Ateliér represents this artwork (external link).



ESKER, 2016, Film exposures digitally joined. 

The Print Ateliér represents this artwork (external link).



ANAPHORA, 2015, film images printed on single surface, 103,91 x 84,79cm (40,91 x 33,38in). 

The Print Ateliér represents this artwork (external link).



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.



UNDER THE SUN, 2015, 5 image panel, overall size 215 x 71 cm ( 85 x 28 in ), Film exposures arranged as a horizontal monolith as turns on time. Vertical images mark points of the sun in relationship with a blank journal and vision of the viewer. Perception of positive and negative spaces, curvature, shadow, mark a sense of perception of passage through time.



30seconds of Lake Michigan, 2015, triptych, images on acrylic panel, overall size 215 x 71 cm ( 85 x 28 in ), Film exposures arranged as film. The horizon shifts to create the sense the viewer is standing on boat. This is one of the artworks close to the immediacy of presence in the temporal qualities of lived experience and memory. When mounted in space or on a wall, light passes through the images and create a shadow of the plane behind the image.



MELODY, 2014, 5 image panel, overall size 215 x 71 cm ( 85 x 28 in ), Film exposures arranged as film strip. 



UNDULATION, 2014, diptych, Film exposures, 104 x 85 cm (40.9 x 33.4 in) 



OMNISCIENT in Imagining New Eurasia Exhibition

Oslo, Norway 오슬로, 노르웨이
Rachel Wolfe  레이첼 볼프


The wisdom of water is the emergence of the emotional body in social practice. Water, according to the Chinese theory of five elements, serves as a symbol and material pathway to the movement and expression of emotions. Water, as symbol and material pathway for energy, is viewed in the new society as sacred to the human experience. The water is to be protected, cherished, and shared amongst people to create a more humane society.


물의 지혜는 사회적인 삶에서 분출되는 감정과도 같다. 고대 중국에서 말하는 5대 원소 중의 하나인 물은 움직임과 감정 표현의 상징이자 도구다. 과거 깨끗한 물 관리에 소홀했던 때와 달리 새로운 세계에서는 물을 소중히 여긴다. 새로운 사회에서 물은 에너지로 통하는 길이자 에너지의 상징이다. 이것은 성스러운 인간 경험이다. 그러므로 더욱 인간적인 사회를 구현하기 위해 물을 보호하고 소중히 다루어 모든 이가 공유해야 마땅하다. 물을 아끼고 존중하는 것은 곧 우리 인간 사회를 구성하는 감정을 아끼고 존중한다는 뜻이다.






Omniscient, 2015, 101.6cm x 304.8cm (40x120in), monolithic photographic image won first place by the Jury and was exhibited in the Here There and Everywhere Exhibition as part of the Imagining New Eurasia project at the Asia Culture Center in Gwanju, South Korea.

Exhibition Imagining New Eurasia