Virtual Material consists of images & videos made through a critical lens on the technology they were made with. Memory, water, movement are represented in relationships built by imaging technology.

ImagesBevegelseneTeknovisuell Experience, Relatively Dimensional Still-life 1919 in 2017, Ultraviolet Forest, Effluo, Sirens, Sublime Domains, Isen,

Videos: Any Water Won’t Do, Chéserex, Sunday Morning, Solfége Souche, Box Mirror, Japan is a place in your mind, Shimmer, Stop Bath, Air Stream, Bora, Facial Recognition, Moon Pong, See the Sea, Flying Objects, Blast


Bevegelsene, 2015-2018, size variable. Film exposures of Oslofjord, scanned, digitally worked to highlight the iridescent light refractions from the film material and the light refraction in the Nordic sea known for its oil extraction.


Teknovisuell Experience, 2015-2016, size variable. Water & digital imaging technology emphasise degradation process of uploading and downloading through social media. Installation of Detail #5 at Otis College of Art & Design engages relationship of body & space to the clarity of the perceived image. Various installation formats available upon request. The images are up and downloaded several times. The data to and from the phone is processed through data centers, sometimes in various continents. The images lose and gain some qualities, akin to the way people do when they travel. The Teknovisuell Experiences series was up and downloaded through social media channels 7 times, for each image. The final result then, a ritualised image, manipulated to highlight the qualities of the degraded visual elements. Still images are applied as wall coverings, and digital gifs of the images move the static light reflections of the waters’ surface, to visualise the idea of ghosts in the machines.

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


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.

  • 33.02 x 48.26 ( 13 x 19 in ), prints on digital negative darkroom film with archival ink.


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.


Effluo, 2018, photographic image on acrylic, size variable.


Sirens, 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.

  • Daisy Chain, 2013, 152.4 x 102cm (60 x 40in) 60 x 40 in


Isen, 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.


Earth Fire Water Air, 2019, single channel video for projection


Nord Sommer, 2019, single channel video for projection


Static and Sea, 2019, single channel video for projection


Vaud, 2019, single channel video for projection


Bodies of Water, 2019, single channel video for projection


Any Water Won’t Do, 2019, single channel video for projection


Chéserex 2019, single channel video for projection


Sunday Morning, 2019, single channel video for projection


Solfége Souche, 2018, single channel video


Box Mirror, 2018, single channel video, looks at spectacularisation, commodification, object and objectification, and the way materials perform in certain conditions, and the way typologies are cast into the market.


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, 2018, single channel video, exhibited at Elvelangs i fakkellys 2018 & FilmEssay.com


Stop Bath, 2017, single channel video projection, exhibited at Oslo Art & Fashion Festival & FilmEssay.com


Air Stream, 2018, silent single channel video for projection



Bora, 2018, single channel video for projection


See the Sea, 2018, single channel video for projection. A video version of the still artwork “All Streams Find Their Way to Sea Somehow”. In looking, what senses dominate the values acquired in seeing?


Moon Pong, 2018, single channel video for projection.


Facial Recognition, 2017, single channel video for projection. A moment of identification in recognizing the way intelligence may artificially construct based on algorithm.


Flying Objects ,2015, single channel video for projection


Blast, 2014, stop-motion video installation, Los Angeles, USA.
Materials: Ready-made glass bear coin bank, institutional pink hand soap, photographs.