POSTMODERN SCENERIES, 2009 – 2019, Rådhuset, Oslo, Los Angeles, Chicagoland.








CULTURAL EXPORTS, 2017- ongoing, archival digital print on paper, images 50.8 x 7 cm (20 x 30 in).









SENTIRE (GROW), 2017, film exposures of grow operations in Denver, Colorado.








RELATIVELY DIMENSIONAL STILL-LIFE, 1919 IN 2017, 5 image set, archive ink on digital negative film (13 x 19 inch). Ltd. edition of 3. The candle, a tradition in Dutch still-life painting is realised through a utopian ideal of dematerialised reality. Extreme minimalism and IKEA interior objects are filtered into CMYK printing channels and layered to create a ghostly image, as a representation of the way images layer and flow before our eyes on digital screens.








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.







LAISSEZ UNFAIRE (LASCIA FARE), 2011-2014, photography, 77 x 115 cm (30 x 45 in), archival ink on epson matte paper. 
Formed by wear & machine labor, formal studio-lit portraits of machined-washed residual become friendly posed objects. The remains were caught from the drying machine sieves in homes and laundromats in the USA. These machines are found to a lesser degree in countries, such as Norway or Japan, where plein-air drying remains common.
The first impulse to make the series was an interest in dust, magnetics, and accumulation. I wondered, could understanding a system come about through studying a byproduct of that system? 
Invisible, often actually means marginalised or discarded, when there are often some material fact unexamined. By looking at these discarded objects in an archive, Laisséz-unfaire asks viewers to consider systemic changes in the way matters are handled. 
Laisséz-faire systems, government remains out of business dealings. In a Laisséz-unfaire system, there are systems created for gathering remnants, and possibly entire systems created to manufacture remains. 
In Italian, Lascia Fare means to Let It Be. In the dialectic and semiotic investigation, Laisséz-Unfaire (Lascia Fare), makes visible nascent knowledge embedded in the everyday life of machine and human labor. Perhaps in looking at portraits of byproducts, the machinations around the ideas of progress are revealed to evaluate their qualities.







Franz Kafta wrote, “We photograph things in order to drive them out of our minds.” Older works the residual objects (of modernity) occupying ideals within a pictorial field.


EQUATION, 2014. Photographic Print, Edition of 2. Artist proof available. An image as material evidence of a philosophical theory – comparison simultaneously centralises topical similarities while decentralising the set, acceptance of differences strengthens the group and the reference remains unknown.






SONIDOS, 2014, photographic images in series on acrylic, size variable. Artist proofs on paper. Digital audio files applied as grids upon film exposures of rural landscapes in a digital manipulation process.



  • Sirens series, 2014, photographic image on acrylic, sizes vary.







SUBLIME DOMAINS, 2013 – ongoing series. Digital print on matte paper. Sizes vary unless otherwise noted.








INTERIOR LIGHTS, 2009-2012, giclée. Analogue film printed at limited editions of 8. Sizes vary. 







NOT EVEN BUT ALMOST, 2009-2010, c-prints. Exhibited at Old Town School of Folk Music in Lincoln Square, Chicago, Illinois. The framed, c-prints are privately owned.








LIMINAL METANOIA, 2009-2010, c-prints. A limited edition of images were printed and collected by private individuals. Click this text to view the exhibition in Georgia. 








INTERSPACE, 2008 / 2009, photography. 25.4 x 15.24cm (10 x 6in). Selected images published in Neo New Age zine, 2012, Chicago.