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 elements of the nature landscape to expose the psychological nature of conflict. Fog, dampness, evasive senses of what has or is about to happen. Made at two sites of water: One, the Vemork heavy water factory in Rjukan, Norway, and the other Maridalsvannet, Oslo’s drinking water.

During World War II, Hitler and his regime believed heavy water was necessary to develop nuclear technology. Under forced labor and threat of losing their lives, the workers chose to resist orders and break small parts of the production. Due to their resistance, advancement of the technology was thwarted. Much of the heavy water produced sunk in 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 aids in understanding the different outcomes produced in nature and technology. Previously open to be skied and skated upon during winter, the drinking water in Oslo became a fenced off due to city development.

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. 

Surreal Landscapes use the medium of photography to look at the ways of seeing. The vision of nature presented in the series are textural. Framing abstract forms in nature, an emphasis of materiality of image is presented. This materiality becomes mirrored in the psyche by the field of vision. Aesthetic relationships stir ethical conversations on the relationship between humans and nature. Using the distinct qualities of imaging technology by enhancing the scanner’s interpretation of film, the photographic image becomes the technocratic age’s take on pointillism. The tradition in painting transferred into contemporaneity, invites the viewer to open to the various methods in which an image can be read and understood while relating to values of beauty and landscape as principles guiding emotional and behavioural choices related to the environment.

 

  • 2018, Over The Streambed A Body Formed From the Light Refracted in Waves.
 
In a Streambed a Body Formed in the Light Refracted from Waves & An Apophatic Knowing of Water.
 
Uncanny and sublime, the exposures were made with a rangefinder camera at the edge of the Akerselva River. The river running through Oslo, Norway, provides sources of energy and revival for the city. The physical nature of the river and psychological nature of image making overlap within the image reflecting the surrounding landscape refracted in the waves.
 
The colour pigments are enhanced from the Kodak Gold profile. The film noted for popularity in the regular market ties the sublime qualities in the everyday subject to the everyday material. The tones are often noted for warm and magenta colour casts. Magenta is understood to be the colour that does not exist on a frequency wavelength; the colour is one humans make up with their minds. Amber is a resin with a relationship to the electron in that it can be slightly negatively charged.

 


 

Manganese2019, 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.

Verēri, a latin word with an english translation to fear. The images of stillness create a sensual immersion in the visual field. The Verēri series looks into the ways fear comes to be understood. Residing in a relationship with the subjective senses and the environment, within quiet moments of nature, where can reasons for fear appear?

Evoking psychological spaces to look at the art of the psyche, the nuance between fear and reverence emerges through time spent looking. Where in these images can be found the motivation to dominate nature? Memory becomes the latent image, a recollection of the way Fear inspires control.

Looking upon the landscape images, nature as a subject and objective is and asks for contemplation. Objective reality being that which exists no matter what is thought or believed about it. To discuss nature and our relation with nature, we must prepare to consider brutality and grandeur. That a reverence for nature and our relation with the environment reflects our relations with Memory, residing in ourselves.

The images are made to inscribe impressions within the viewer, in the way optics and perception weave themselves not into a new memory, but a remembering of the foundational motive of human nature, with or without ideas, remains one and of nature itself.

 

  • 2018, Laid to Rest