FERRY INTO HARBOR, 2019, single channel video for projection.
Category: Virtual Material
VIRTUAL MATERIAL, 2014 – 2020, series of still images and moving images on themes of embodiment, water, movement, and technology. The artwork in Virtual Material look into the materiality of the image. By examining systems and processes in image making during technocratic times, and the relationship between somatic psychology and environment, the artworks portray understandings and expose ways of thinking about the vision-body relationship.
AMBER (CHASMAL) 2019
AMBER (CHASMAL), 2019, photography. 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. Mirrored in a reflexivity of the photographic image, the bodies of water and light in the hue of amber, create a visual translation of these material properties.
SUNDAY MORNING 2019
SUNDAY MORNING, 2019, single channel video for projection.
CHESEREX 2019
CHESEREX 2019, single channel video for projection.
SHIMMER 2018
SHIMMER MAKES LIGHT IN THE PERIPHERY, 2018, single channel video, exhibited at Elvelangs i fakkellys 2018, featured in the FilmEssay.com archive.
MOUVEMENTS 2015 – 2018
Mouvements (Bevegelsene), 2015-2018, film photography, variable sizes
MOUVEMENTS (BEVEGELSENE), 2015-2018, photography, variable sizes. Exhibitions at Vérité and Akers Mek in Oslo, Norway, 100 x 140 cm, Epson Archival Ink, mounted on kapa.
The Mouvements series reveals nuanced details in digital imaging technology. The images are informed by tensions in oil and water. The materiality of digital imaging technology, distance in viewing, and surreal representations in water forms are highlighted by minuscule film grains amplified after film scanning. The epistemology of water or way we come to learn and understand what water, is an ongoing endeavour. To then know what we are doing with technology, requires extended looking. The way something appears can obfuscate and reveal our relationship to the looking. Oil and water become elemental allegory for technocratic times. As Umberto Eco writes in several books on late modernity, images are read and our connections and relations are realised as a malleable surfaces. The natural beauty of the water is transformed by a hypnotic colour palette tied to screen technology. Viewing distances engage viewers in a sense of movement in stillness.
Exhibition for Oslo Art & Fashion Festival at Vérité and afterwards at Akers Mek. The series is available for printing on metal, vinyl, for limited edition prints, custom facades for public art. The series is part of the book: Textures & Movements.
BORA 2018
BORA, 2018, single channel video for projection.
JAPAN IS A PLACE IN YOUR MIND 2018
JAPAN IS A PLACE IN YOUR MIND, 2018, single channel video. Remaking a place in another place. Looking at how place merges through images, aesthetic choices, and sound associations.
AFFLUO 2018
AFFLUO, 2018, photography studies made during the Praksis Oslo Artist Residency: A Global State of Paredoilia.
SOLFEGE SOUCHE 2018
SOLFEGE SOUCHE, 2018, single-channel video, sound composition and arrangement.
February 2019, Palazzo Michiel, Strada Nova, 4391, 30121 Campo Santi Apostoli, Venezia, Italy
June 2019, CICA Museum,Czong Institute for Contemporary Art (CICA), Gyeonggi-do, South Korea
October 2020, “The Performer”, LoosenArt, Millipiani, Rome, Italy
“I love the way the figure is emerges then blends back into its surroundings, it is how I feel in the wild parts of Skye as if I am the landscape. The light is beautiful. It isn’t like Bill Viola’s work, but it has the same emotional effect on me.” -Joan Foye, UK
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A Solfège Souche is by definition the root of a forgotten connection with nature.
In our time of rapidly increasing use of technology in everyday life, we face incessant streams of new questions mirroring the ethical and moral lines. This space framed in the video asks the body questions of identity and presence: Is it dangerous if we do not know what we stand to lose? The body itself dances with the nature, merging and emerging from shadows and light. The body becomes a form for drawing lines, through movements. Binaural beats compose the soundtrack, reminiscent of tinnitus or ear trauma. The pitches register as psychological markers of physical events.
In an effort to portray a dynamic relationship with nature, instead of a dominance over nature, the Butoh-dance inspired movements recreate the way lifeforms which are cut down in the forest continually find a way to reach towards light. The Solfège Souche video performance is the foundation in the development of an affordance technology research project.
Solfège refers to a music education method developed to teach sight-singing and pitch accuracy. Originating in 11th century, music theorist Guido of Arezzo assigned six syllables (ut, re, mi, fa, sol, la) recognized now as the major scale.
Ut queant laxīs resonāre fībrīs; Mīra gestōrum famulī tuōrum; Solve pollūtī labiī reātum, Sancte Iōhannēs.
Much later, the “ut” was changed to the open syllable “do”, “sol” sometimes to “so”, while “si” (later changed to “ti”) was added for the seventh scale-note, giving rise to the modern solfège. Souche is stump (of a tree), and in Latin means root while simultaneously referring to genealogy. Souche was also a name of an unknown virus claiming the lives of at least twenty people (une souche virale inédite a fait au minimum vingt morts).
Affordance is what the environment offers the individual, and refers to all action possibilities depending on users’ physical capabilities. For example, a chair not only “affords” being “sat on,” but also “thrown,” “stood on,” and so on. James J. Gibson, coined the term “affordance.”
NORSK: Solfege Souche, 2018, enkelt kanel med lyd, filmet i Maridalen, Oslo, Norway
En Solfège Souche er per definisjon roten til en glemt forbindelse med naturen. I vår tid med raskt økende bruk av teknologi i hverdagen, står vi overfor kontinuerlige strømmer av nye spørsmål som speiler de etiske og moralske linjene. Dette rommet innrammet i videoen stiller kroppen spørsmål om identitet og tilstedeværelse: Er det farlig hvis vi ikke vet hva vi vil miste? Kroppen selv danser med naturen, fusjonerer og dukker opp fra skygger og lys. Kroppen blir en form for å tegne linjer, gjennom bevegelser. Binaural beats komponerer lydsporet, som minner om tinnitus eller øre traumer. Banene registreres som psykologiske markører for fysiske hendelser. I et forsøk på å skildre et dynamisk forhold til naturen, i stedet for en dominans over naturen, gjenskaper de Butoh-dans inspirerte bevegelsene måten livsformer som skjæres ned i skogen kontinuerlig finner en måte å nå mot lys på. Solfège Souche-videoopptredenen er grunnlaget for utviklingen av et teknologiundersøkelsesprosjekt.
Solfège viser til en musikkundervisningsmetode som er utviklet for å lære synesang og tonehøyde nøyaktighet. Musikkteoretikeren Guido fra Arezzo, som stammer fra 1200-tallet, tildelte seks stavelser (ut, re, mi, fa, sol, la) anerkjent nå som den viktigste skalaen.
Ut queant laxīs resonāre fībrīs; Mīra gestōrum famulī tuōrum; Løs pollūtī labiī reātum, Sancte Iōhannēs.
Mye senere ble “ut” endret til det åpne stavelsen “do”, “sol” noen ganger til “so”, mens “si” (senere endret til “ti”) ble lagt til for den syvende skalaenheten, noe som ga opphav til den moderne solfège. Souche er stubbe (av et tre), og på latin betyr rot, samtidig som det refereres til slektsforskning. Souche var også et navn på et ukjent virus som forlangte minst tjue menneskers liv (une souche virale inédite a fait au minimum vingt morts).
Affordance er det miljøet tilbyr den enkelte, og refererer til alle handlingsmuligheter avhengig av brukernes fysiske evner. For eksempel, en stol ikke bare “gir” å være “satt på”, men også “kastet,” “sto på,” og så videre. James J. Gibson, myntet begrepet “affordance.”