“Maybe you are searching among the branches for what only appears in the roots.” -Rumi

MANGANESE, 2019, film photography, sizes variable. The film exposures from beneath a budding tree in spring are cast in a light reminiscent of the mineral Manganese. The element related to the metabolic processes within the human body are also used in manufacturing to prevent corrosion. The images aesthetically work to create reverence with the relationship humans have with nature. In high concentrations, Manganese is lethal, and in deficits cause great pain.

As Elaine Scarry writes in On Beauty and Being Just, Beauty offers experiences leading to resolutions of inner turmoil. The balance of energy, motivation, and resources for a tree to grow also follows in traditions of seekers and sages of wisdom. 

The series is represented by Albumen Gallery.











SURREAL LANDSCAPE, 2016-2019, film photography. Surreal Landscape uses the medium of photography to look at vision as a way human understanding differs from artificial intelligence. The vision of elements presented in the series are sensual and textural. The materiality of imaging abstractions of elements becomes mirrored in the psyche, and embodied perception through the physicality of spacial viewing. The images are framed for the physicality of form in union with the perceptual state of mind to extract new forms from “mental turbulence.” As Davinci depicted turbulence in water and in the mind in paint, illuminating perceptual turbulence. Histories in painting are translated today through photographic, and more recently digital process.

The ability to extract form from turbulence becomes the ability to invent new forms in visual art history. Artificial intelligence attempts to do this by referencing samples, and photography attempts to sample the world a priori. With this series of analogue film, the closeness with what was (already there) comes through the traditions in sublime painting through a lens. The film is what does the looking, the rangefinder performs as an apparatus, entirely different from a digital reconfiguration. The difference is so slight, the self-evident truth is most often missed. As often how things go when something in plain sight is not noticed.

The peculiar challenge for humans to gain direct experiences socially appears compounded during technocratic times. As the framer of an image, the eye and timing attempts to gain a union with the subject in frame. The image goes towards the sublime understanding. In this aesthetic relationship, the relationship between vision (eyes) and the conception (sacral region of the body)  stir the ethical conversations on relationships between humans and nature. Using the distinct qualities of imaging technology by enhancing the digital interpretations of analogue film, the photographic image invites the viewer to open various methods in which vision and images can be read, related with, and understood. Values of beauty and internal and external landscapes, as principles, guide emotional and behavioural choices related to the environment of which humans are made of.

Colours in the series are heavy with magenta and amber due to both film itself and the qualities of the enhanced pigments in the Kodak Gold profile. The film noted for popularity in the regular market ties the sublime qualities in the everyday subject to the everyday material. The tones are often noted for warm and magenta colour casts. Magenta is understood to be the colour that does not exist on a frequency wavelength; the colour is one humans make up with their minds. Amber is a resin with a relationship to the electron in that it can be slightly negatively charged.As a substance used in ancient folk medicine, Amber (Chasmal), was understood as electrical conductor. Accumulated sap hardened over time was used to protect the body from harmful energies and revive benevolent energies from the heart and circulatory system. These material properties are mirrored in the reflexivity of both photographic process and resulting images, in the presentation, the images refer to the images themselves more than the subject being referred to. This cause and effect relationship aims to foster a structure that can be benevolent for the viewer.










RUISSEAU (HOLOCENE), 2018, film photography, 68,14 x 101,6 cm (26,8 x 40 in). Ruisseau Holocene is a reflection on how we perceive time and nature. The residue deposited over time in the sands of the Lofoten islands, in the North of Norway, creates endless streams of changing formations. 

The series is represented by Albumen Gallery.
























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.










EVERYWHICHWAY, 2015, film photography, sizes variable. Triple exposure images merge three instances of: roses, water, and a variable. Single images representing the multitude of (unnoticed and/or misremembered) layers in lived experience, draw forward to a singular viewing plane, a cacophony of visual information. Looking into the experience of perception, memories are placed with the present and the future. This kind of recognition of time as fluid connectivity loosens up the hard edges of both the Screen Memory concept and frame of the camera mechanism itself. By attempting to work with a constructed filter (roses, water, variable) to access memories, viewers are invited to consider the surface quality of an image as a visual field. This field used for interpreting reflective surfaces where experiences past, present, future converge, the depths and limits of memory recall, methods of understanding, psyche reformation, and a personal interpretation of narrative.