Virtual Material, 2014 – ongoing, images & videos. Memory, water, movement looking at imaging technology.
Mouvement, 2015-2018, film photography, size varies. 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, 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.
Effluo, 2018, photographic image on acrylic, size variable.
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.
Ferry Into Harbor, 2019, single channel video for projection.
Home Gym, 2019, single channel video for projection.
Les Ames Mortes, 2018, single channel video for projection.
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.