Virtual Material consists of Images & Videos on themes of memory, water, and movement.

ImagesBevegelseneTeknovisuell Experience, Relatively Dimensional Still-life 1919 in 2017, Ultraviolet Forest, Sirens Series, 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.

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

Water symbolises life and serves as a source for vitality. Part of my daily routine is to walk to and from a body of water. When I am doing this, I often see people sharing their time interacting with people through mobile phones. Having increased usage of my own screen through video conferences and social media, I took interest in the way uploading and downloading processes through data centers to interpret data sent. While the image loses some qualities, it picks up on others. The Teknovisuell Experiences series of images was made by uploading and downloading images of the water. I uploaded the image to social media, and downloaded the images, repeating this process 7 times for each image. The final result then, the image as process through the social media channels data services, and then manipulated the image to highlight the degraded visual elements. The still images are sometimes applied as entire wall coverings, but in this series, I made digital gifs out of the still images to make the static light reflections on the waters surface, hover and move based on the idea of ghosts in our machines.


Relatively Dimensional Still-Life, 1919 in 2017, 5 image set, archive ink on digital negative film (13 x 19 inch). Ltd. edition of 3.

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

Still life traditions in Dutch painting tend to center on certain motifs, one of them, the candlestick. I began to wonder what would a contemporary Dutch painting appear as in the future? Will the utopain ideal of dematerialised reality, extreme minimalism, permit physical objects at all, or will the movements we go through suggest our fires and candles be lit by screens? 1919 was amidst an important time for modernism, and 2017 marks a year of changes in the modern world as it was known. The images were made on a digital camera in 2014, of IKEA candlesticks and shelves, as these became the ubiquitous interior decor choice in much of the industrialised market, precisely as their Scandinavian minimalist arrangement poses one of the candles upright, and the other leaning toward the left. The candlesticks become what they are, and metaphors for the change in partnership roles. The images are converted to color spaces representing industrialised CMYK printing process, and layered over the other, to depict the way images layer and flow before our eyes on digital screens.


Ultraviolet Forest, 2015. Images cast in UV spectrum.

Starved Rock State Park in Illinois is a site of historical disagreement over events transpired in the location. The death of natives both denied and confirmed by historians based on different evidence, the images are made based on the idea of forensics and taking a light to the landscape to reveal traces of the past. The seven images shift into each other to represent the forest, to see if viewers can feel in their body what did or did not happen at the site. UV light can also be understood in terms of phosphorescence, and show that whatever has happened nature continues to grow upon what was there. At once the viewer is confronted by reality of mortality and the spectacle of visual imaging technology to which cultures are increasingly becoming attuned to communicating through. The archive and document, containing more complex forms of documentation through data, the Ultraviolet Forest becomes a surreal, shifting landscape of the mind’s experience of a physical place.


Sirens Series, 2014, photographic image 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,  Proxy Gallery. Box Mirror video looks at spectacularization, commodification, object, objectification, materials, and the material reality merges information embedded in materials and ideas.


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.