SURREAL LANDSCAPE, 2016-2019, film photography.
Surreal Landscapes use the medium of photography to look at the ways of seeing. The vision of nature presented in the series are textural. Framing abstract forms in nature, an emphasis of materiality of image is presented. This materiality becomes mirrored in the psyche by the field of vision. Aesthetic relationships stir ethical conversations on the relationship between humans and nature. Using the distinct qualities of imaging technology by enhancing the scanner’s interpretation of film, the photographic image becomes the technocratic age’s take on pointillism. The tradition in painting transferred into contemporaneity, invites the viewer to open to the various methods in which an image can be read and understood while relating to values of beauty and landscape as principles guiding emotional and behavioural choices related to the environment.
In a Streambed a Body Formed in the Light Refracted from Waves & An Apophatic Knowing of Water.
Uncanny and sublime, the exposures were made with a rangefinder camera at the edge of the Akerselva River. The river running through Oslo, Norway, provides sources of energy and revival for the city. The physical nature of the river and psychological nature of image making overlap within the image reflecting the surrounding landscape refracted in the waves.
The colour pigments are enhanced from the Kodak Gold profile. The film noted for popularity in the regular market ties the sublime qualities in the everyday subject to the everyday material. The tones are often noted for warm and magenta colour casts. Magenta is understood to be the colour that does not exist on a frequency wavelength; the colour is one humans make up with their minds. Amber is a resin with a relationship to the electron in that it can be slightly negatively charged.
MANGANESE, 2019, film photography, sizes variable. The film exposures from beneath a budding tree in spring are cast in a light reminiscent of the mineral Manganese. The element related to the metabolic processes within the human body are also used in manufacturing to prevent corrosion. The images aesthetically work to create reverence with the relationship humans have with nature. In high concentrations, Manganese is lethal, and in deficits cause great pain. Therefore balance is necessary with energy, nature, human bodies, their motivations and choices. As Elaine Scarry writes in On Beauty and Being Just, Beauty offers experiences leading to resolutions of inner turmoil.
POSTMODERN SCENERIES, 2009 – 2019, Rådhuset, Oslo, Los Angeles, Chicagoland.
SOMME, film photography, 2019. Somme, is a place in France and a gruesome site of a battle with an undetermined. As a place of indeterminacy and unnamed victors, the series creates a visual essay toward understanding nature. By attuning the senses to ontological memory, histories felt in the body while moving through present day landscapes were made through a process of meditation. A hypnogogic state was achieved and several walks through the forest were made. The exposures were decided at peak sense experiences. As a vivid descriptions, the photographs visualise pain through poetic landscapes. Beauty and brutality, the finite and unrelenting, memories are represented in enchanting chroma as the relentless changes in the way life, seasons, and societies, build and fall.
Exhibition at Cyan Studio, Jen Bjelkes Gate 13A, 0562 Oslo, Norway
Surrealistic Landscape images from a neolithic epoch and theology ideas.
20 år jubilium med temaet “Tid” May 25, 26, 27, 2018
“Et fotografi – en brøkdel av et sekund av et eksisterende øyeblikk. Øyeblikket er gått men likevel bevart en brøkdel av et sekund i 20 år er mange bevarte øyeblikk.”
“A photograph – a fraction of a second of an existing moment. The moment has passed but still preserved a fraction of a second for 20 years are many preserved moments.”
Machine Print Photographs from Film Development, made into Postcards.
SENTIRE (GROW), 2017, film exposures of grow operations in Denver, Colorado.
Image commissioned for Baptism invitation. The image was then printed on Japanese, awagami kozo gelso fiber, paper.
Currere I received an honourable mention in the ND Photo Awards, Conceptual Fine Art category.
Currere I, 2016, 120 x 160 x .5 cm, film photography, digital composition and archival ink print
printed area 110.94 x 151.1 cm ( 43.7 x 59.5 in ) Prints of Currere are available with The Print Ateliér.
HEAVY WATER (TUNGTVANN), film photography, 2017.
The Tungtvann (heavy water) series frames elements of the nature landscape to expose the psychological nature of conflict. Fog, dampness, evasive senses of what has or is about to happen. Made at two sites of water: One, the Vemork heavy water factory in Rjukan, Norway, and the other Maridalsvannet, Oslo’s drinking water.
During World War II, Hitler and his regime believed heavy water was necessary to develop nuclear technology. Under forced labor and threat of losing their lives, the workers chose to resist orders and break small parts of the production. Due to their resistance, advancement of the technology was thwarted. Much of the heavy water produced sunk in the lake, in another covert operation.
Water and heavy water are very different expressions of the same element. The aim of tracing the way those elements are treated by human choices aids in understanding the different outcomes produced in nature and technology. Previously open to be skied and skated upon during winter, the drinking water in Oslo became a fenced off due to city development.
Water itself goes through many cycles within the season, and remains a subject in the psychological landscapes. Looking to convey the details in nature related to a history where small, deliberate acts of resistance or change lead to a substantial contributions over time.