TUNGTVANN (HEAVY WATER), film photography, 2012 – 2018, frames exposing psychological dynamics within the psychological landscapes producing tensions experienced as dread and wonder, grandeur and abjection, reverence and levity, control and acceptance. Foggy, damp, evasive, grainy senses of what was, is, or could happen in the nuanced relationships between emotion and cognition invite viewers to spend time looking where in the out-there vision of the world can be found the motivation to dominate. The apparatus of photography and image viewing engages memory circuiting with physiology. The nature of subjectivity relies on contingencies between the viewer, memory, and the view of the world. The formation of latent images are rarely, if ever, in a 1:1 relation, but rather weave themselves within the mixed memories in the viewer. Remembering invites pause to consider where beliefs around the way nature is or works, could produce the foundational motives in authoritarian orders. For example, follied beliefs drove forced labor at Vemork Kraftverk during WWII, where workers resisted orders, to break small parts of heavy water production. Due to resistance, the advancement of fascist nuclear technology was thwarted, and later found to be unneeded. Much of the heavy water produced sunk in the lake, in another covert operation. In considering the densities in perception and psychological, the images invite mediation in the relationship between vision and body. The series is represented by Albumen Gallery.