Virtual Material, 2014 – 2020, film photography and moving images. Memory, water, movement, looking at imaging technology. Photography series in Virtual Material are titled: Mouvement, Teknovisuell Experience, Affluo, Isen. The videos follow the series of still images. 



Mouvement, 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, 2015-2016, variable sizes. Water & digital imaging technology emphasise the ethereal nature of screen-based technologies. The Teknovisuell Experiences series was up and downloaded through social media channels 7 times, for each image. The final image stands as a ritualised image, manipulated to highlight degraded visual qualities. Various installation formats available upon request. Still images afford application of the image as wall coverings. 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 relationship of body & space to the clarity of the perceived image. The imaging processes displace pigments, creating fuzzy borders representing the aesthetic and ethical qualities technology raised in our society. 


  • 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, iPhone photograph, 25.4 x 31.75cm ( 10 x 12.5inches ). The materiality of an image is central theme in looking at the conception of amber. As a substance used in ancient folk medicine, Amber (or Chasmal) are understood as conductors of electricity. The remnants of an accumulated life process, are mirrored in the reflexivity of the photographic image. 




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.





Solfége 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.







Moon Pong, 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.