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. 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.
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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, 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 as resources. 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 artwork became part of a develop of garment designs and is part of the book: Textures & Movements.
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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.
The series is represented by Albumen Gallery.
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SOLFEGE SOUCHE 2018
SOLFEGE SOUCHE, 2018, single-channel video, sound composition and arrangement.
“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
February 2019, Palazzo Michiel, Strada Nova, 4391, 30121 Campo Santi Apostoli, Venezia, Italy
June 2019, Czong Institute for Contemporary Art (CICA Museum), Gyeonggi-do, South Korea
October 2020, “The Performer”, LoosenArt, Millipiani, Rome, Italy
June 2020, Semi-Finalist, Dumbo Film Festival, New York.
June 2021, Finalist in Best Experimental Film Category, Beyond The Curve Film Festival, Paris, France.
June 2021, New York Tri-State Film Festival.
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A Solfège Souche is by definition the root of a forgotten connection with nature. In times of rapidly increased use of technology, humans face increased stimulation and variables on age old questions in ethics and morality. In an effort to portray a dynamic relationship with nature, instead of dominance over nature, the Butoh movements recreate ways lifeforms cut down in the forest continually find ways to reach towards light. This space framed in the video presents a body moving amongst an autumnal forest, merging and emerging from light and shadows. The body draws lines through movement; binaural beats compose the soundtrack. The pitches register at markers in time, reminiscent of ear trauma or tinnitus. The Solfège Souche video is situated at the intersection of dance, performance, video art, projection, embodied cognition research, and resonance study. The artistic research and pedagogical development around the project asks the questions: Are our cultural and bodily movements dangerous if we do not understand what we stand to lose? In what ways do sounds move and change forms from within the body and around?
“Ut queant laxīs resonāre fībrīs; Mīra gestōrum famulī tuōrum; Solve pollūtī labiī reātum, Sancte Iōhannēs.”
The term, Solfège, refers to the 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, now recognized as the major scale. Much later, the “ut” was changed to the open syllable “do”. “Sol” changed to “so”. “Si” later became “ti”, was added for the seventh scale-note, giving rise to the modern solfège. Souche has several meanings; as a stump (of a tree), the Latin word meaning root, 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).
The changes and understandings in musical notation, are related to posture and movement. These bodily performances considered intuitive or based on vision, relating Gregorian and Orthodox histories with traditions found in native and pagan rites of passage. Therefore the things themselves, present and projected become the shared ground. The next record in this artistic research is the Afjordance video projection and data based, algorithmic generated sounds based on the term Affordance.
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 tider med raskt økt bruk av teknologi, møter mennesker økt stimulering og variabler på eldgamle spørsmål innen etikk og moral. I et forsøk på å skildre et dynamisk forhold til naturen, i stedet for dominans over naturen, gjenskaper Butoh-bevegelsene måter livsformer kuttet ned i skogen kontinuerlig finner måter å nå mot lys. Dette rommet innrammet i videoen presenterer en kropp som beveger seg mellom en høstlig skog, smelter sammen og kommer ut fra lys og skygger. Kroppen trekker linjer gjennom bevegelse; binaural beats komponerer lydsporet. Plassene registreres ved markører i tide, og minner om øre traumer eller tinnitus.
Solfège Souche-videoen ligger i skjæringspunktet mellom dans, performance, videokunst, projeksjon, forskning og studier. Den kunstneriske forskningen og den pedagogiske utviklingen stiller spørsmålene: Er våre kulturelle og kroppslige bevegelser farlige hvis vi ikke forstår hva vi taper? På hvilke måter beveger lyd og endrer form fra kroppen og rundt?
Ut queant laxīs resonāre fībrīs; Mīra gestōrum famulī tuōrum; Løs pollūtī labiī reātum, Sancte Iōhannēs.
Begrepet, Solfège, refererer til musikkopplæringsmetoden som er utviklet for å undervise i synge og tonehøyde. Opprinnelsen fra det 11. århundre tildelte musikteoretikeren Guido fra Arezzo seks stavelser: ut, re, mi, fa, sol, la, nå anerkjent som hovedskala. Mye senere ble “ut” endret til den åpne stavelsen “do”. “Sol” endret til “så”. “Si” ble senere “ti”, ble lagt til for den syvende skala-noten, noe som ga opphav til den moderne solfège. Souche har flere betydninger; som en stubbe (av et tre), det latinske ordet som betyr rot, og refererer samtidig til slektsforskning. Souche var også et navn på et ukjent virus som krevde livet til minst tjue mennesker (une souche virale inédite a fait au minimum vingt morts).
Endringene og forståelsene i musikalsk notasjon, er relatert til holdning og bevegelse. Disse kroppslige forestillingene ble ansett som intuitive eller basert på visjon, og relaterte gregorianske og ortodokse historier med tradisjoner som finnes i innfødte og hedenske overgangsritualer. Derfor blir tingene i seg selv, nåværende og projiserte, den delte bakken. Den neste posten i denne kunstneriske forskningen er Afjordance videoprojeksjon og databaserte, algoritmisk genererte lyder basert på begrepet Affordance.
Overlegenhet er hva miljøet tilbyr individet, og refererer til alle handlingsmuligheter avhengig av brukernes fysiske evner. For eksempel gir en stol ikke bare “å sitte på”, men også “kastet”, “sto på” og så videre. James J. Gibson, laget begrepet “overkommelighet”.