VIRTUAL MATERIAL, 2014 – 2020, series of still images and moving images on themes of embodiment, water, movement, and technology. The artwork in Virtual Material look into the materiality of the image. By examining systems and processes in image making during technocratic times, and the relationship between somatic psychology and environment, the artworks portray understandings and expose ways of thinking about the vision-body relationship.



MOUVEMENTS (BEVEGELSENE), 2015-2018, film photography, variable sizes. The series reveals nuanced details in imaging technology. Through digital technology, viewers are confronted by water reformed by minuscule film grains amplified after film scanning. An otherwise placid subject is disrupted by aesthetic values. Surrealistic colour manipulations mimic the way that which is right in front of our eyes, becomes elusive when considered as a surface. Looking closer can reveal the methods and machinations of the way what something appears as, comes to being. The series was made by considering the way earth resources are looked at for usage in trade economies. The motives involved in progress, technologies, and territories involve parts that never truly mix, but join in the visual fields in the series. This viewing field becomes realised as a fantasy, the natural beauty of the water overtaken by the hypnotic colour palette of screen technology. The series looks at the nature of desire in relationship to vision, framing the way images are made as subject and process. Viewing distance is activated in the way the images create a sense of movement in stillness. 







TEKNOVISUELL EXPERIENCE DETAIL  #5, VIRTUAL MATERIAL SERIES, public installation, Otis College of Art and Design Admissions Office, Los Angeles, California, 2017. The Teknovisuell Experience works are part of a larger body of work titled Virtual Material. The images in Virtual Material involve several layers in the materiality of the image, systems and processes in imaging, the vision-body relationship, and ways civilisations form understandings of nature. From an empirical, materialist philosophical standpoint, the works reflect on age-old discussions between Platonic and Sophist ideas, and the places spiritual and scientific ideas are permitted. Through the emphasis on the ethereal nature of screen-based technologies, the Teknovisuell Experience Details take-up these conversations both through the processes in which they were created and in the results of the viewers interactions and memories with images. By engaging the physical body with the vision, the distance in viewing engages viewers’ bodies in the opportunity to look at processes otherwise invisible to users of screen-based technology, but evident to builders of technology such as R&D, the coder, manufacturer and marketer. The details in Teknovisuell Experience were composed of the decomposition of images up and downloaded through social media channels; 7 times for each image. The final images reconstitute a representation, highlighting the way images become a form of cultural ritualisation. By further manipulating the image to highlight degraded visual qualities, and print at large scale or clip sections out as fragments, the various installation formats available engage viewers in contemplation of the areas in an increasingly liquid society. The scale and application of the image evokes motifs and patterns found in traditions of totems and textiles. Still images applied as wall coverings, pillars, scrolls or flags. Digital gifs of the images afford exhibition on screens and move static light reflections, creating visually ghostly movements.


INSTALLATION OF DETAIL #5 at OTIS COLLEGE OF ART & DESIGN engages the relationships of body & space to image technology through the clarity of the perceived image. The imaging processes themselves displace and reform pigments and images, creating fuzzy borders. The Teknovisuell Experience series represents, through images of water, aesthetic and ethical qualities technology raises in our societies.


  • Digital images, 2015-2016, printed at 61,04 x 76,2 cm (24 x 30in)







AFFLUO, 2018, photography.








Isen, film photography to digitised gif, 2015. The change of the climate has been in the news since I was a child. In my interest in finding errors in human perception and studying nature for its cues about reality, I wondered if I could use visible material today to understand the natural forces that exist. I used medium format film, scanned it, and used the negative impression of the scan to depict forms visible at a beach. It could be any beach, and in the inverted visual appearance, in the arctic. Though the photographs were made in the San Francisco area of California, inverting the values of the waves coming in and out of the bay, show the ebbs and flows of water, tide, and forms along the cost. The artwork is part of a larger body of worked titled Virtual Material which includes, images, gifs, and video.





AMBER (CHASMAL), 2019, photography. As a substance used in ancient folk medicine, Amber (Chasmal), was understood as electrical conductor. Accumulated sap hardened over time was used to protect the body from harmful energies and revive benevolent energies from the heart and circulatory system. Mirrored in a reflexivity of the photographic image, the bodies of water and light in the hue of amber, create a visual translation of these material properties. 






CHESEREX 2019, single channel video for projection.









SUNDAY MORNING, 2019, single channel video for projection.








FERRY INTO HARBOR, 2019, single channel video for projection.








SOLFEGE SOUCHE, 2018, single channel video for projection. Exhibited at Moving Lab Festival in Venice, Italy, CICA Museum in South Korea, LoosenArt in Rome, Italy.

“I love the way the figure is emerges then blends back into its surroundings, it is how I feel in the wild parts of Skye as if I am the landscape. The light is beautiful. It isn’t like Bill Viola’s work, but it has the same emotional effect on me.” Joan Foye, UK









JAPAN IS A PLACE IN YOUR MIND, 2018, single channel video. Remaking a place in another place. Looking at how place merges through images, aesthetic choices, and sound associations.









SHIMMER MAKES LIGHT IN THE PERIPHERY, 2018, single channel video, exhibited at Elvelangs i fakkellys 2018, included in the archive









BORA, 2018, single channel video for projection.









STOP BATH, 2017, single channel video projection, exhibited at Oslo Art & Fashion Festival & included in the archive









BLAST, 2014, stop-motion video installation, Los Angeles, USA. 

Materials: Ready-made glass bear coin bank, institutional pink hand soap, photographs.