Landscapes, 2012 – ongoing, images working with the aspect of photography relating with landscape. These are places of of psychology, war history, nature’s truth. The collection of series within Landscapes depict chromas and tonal values within the idea Indetermination. The subject of Vision becomes the work through the proximation of the experience of moving through Landscape.
Somme, film photography, 2019. Somme, is a place in France and a gruesome site of a battle with an undetermined. As a place of indeterminacy and unnamed victors, the series creates a visual essay toward understanding nature. By attuning the senses to ontological memory, histories felt in the body while moving through present day landscapes were made through a process of meditation. A hypnogogic state was achieved and several walks through the forest were made. The exposures were decided at peak sense experiences. As a vivid descriptions, the photographs visualise pain through poetic landscapes. Beauty and brutality, the finite and unrelenting, memories are represented in enchanting chroma as the relentless changes in the way life, seasons, and societies, build and fall.
Tungtvann (heavy water), film photography, 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 photography. Digitally informed film photography to look at aesthetic and ethical relationships between humans and nature through qualities of imaging technology. By enhancing the scanners’ interpretation of film, the grain becomes the technocratic age’s take on pointillism.
Manganese, 2019, film photography. The film exposures from beneath a budding tree in spring are cast in a light reminiscent of the mineral Manganese. The element related to the metabolic processes within the human body are also used in manufacturing to prevent corrosion. The images aesthetically work to create reverence with the relationship humans have with nature. In high concentrations, Manganese is lethal, and in deficits cause great pain. Therefore balance is necessary with energy, nature, human bodies, their motivations and choices. As Elaine Scarry writes in On Beauty and Being Just, Beauty offers experiences leading to resolutions of inner turmoil.
Verēri, 2012 – ongoing, film photography, sizes noted under images. 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.