Landscapes, 2012 – ongoing, images working with the spaces of psychology, war history, and indetermination.
Somme, film photographs, 2019. Somme, as a place in France, and a site of gruesome battle with an undetermined result relates to a philosophy on the nature. This space of indeterminate and sensitivity to nuance in unnamed victors, was taken up in philosophy as a practice in understanding. In the ontology of Somme and and the premise past events can still be felt within the body traveling a landscape, the actual frames were made in the Norwegian forest. Through a process of meditation, a hypnogogic state was accessed and several walks through the woods were made. The exposures were decided at certain points of peak sense experience within the forest. As a vivid descriptions, the photographs visualise painfully poetic scenes in nature, as an unrelenting and undetermined process. Through beauty and brutality, the finite and unrelenting are given to this series of enchanting film exposures representing impermeability. The relentless changes-in the way life, seasons, and societies, build and fall.
Tungtvann (heavy water), film photographs, 2017. The Tungtvann (heavy water) series frames specific elements of the nature landscape to expose the nature of conflict, and conflicts relationship to psyche. Fog, dampness, an evasive sense of has or is about to happen in scenes of calm, expanse, the tangled, and the fallen. The places the pictures were made are at two sites of water. One site, the Vemork heavy water factory in Rjukan, Norway, and the other, Oslo’s drinking water, Maridalsvannet. During World War II, the Hitler and his regime believed heavy water was necessary to develop nuclear technology. The factor employed forced labor, of which a group under the threat of their life, chose to resist the orders and break small parts of the production. Due to their resistance, the advancement of the technology was thwarted, and much of the heavy water that was produced sunk to the bottom of the lake in another covert operation. Water, and heavy water are very different expressions of the same element. The aim of tracing the way those elements are treated by human choices is to understand the different outcomes produced in nature and technology. The drinking water in Oslo is now a fenced off body, which was previously open to people to ski and skate on during winter. As the population increases, the barrier keeps people out. These basic elemental choices, signify some of the cultural values passing through the scrutiny of our time. Water itself goes through many cycles within the season, and remains a subject in the psychological landscapes. Looking to convey the details in nature related to a history where small, deliberate acts of resistance or change lead to a substantial contributions over time.
Surreal Landscape, 2016-2019, film exposures made in Colorado and Norway are digitally transformed by scanning and picking up the scanners’ interpretation of the film. The images transpose the digitisation process through nature forms to look at the way viewing information relates with the human body. The ways and what we see as how they connect within what is defined as soul, spirit or psyche. Coming from industrialisation and through the digitisation age, to consider the changes visualisation has with the human relationship with the environment.
Verēri, 2012 – ongoing, size noted under image. Nurturing a sense of reverence to the nature from which we come and return. Film exposures from Southern Norway landscapes depict pastoral stillness and sensual immersion in the visual field. To discuss nature, we must be prepared to consider brutality, grandeur, and movements leading to visible forms.