MOUVEMENTS (BEVEGELSENE), 2015-2018, photography, variable sizes. Exhibitions at Vérité, Grundingen 1-3, Aker Brygge, 0250 Oslo, Norway for Oslo Art and Fashion Festival, and Akers Mek in Oslo, Norway, 100 x 140 cm, Epson Archival Ink, mounted on kapa. The exhibition was supported by Epson Europe,Interfoto Oslo, and CopyCat Fine Art in Skøyen.
The Mouvements series reveals nuanced details in digital imaging technology. The images are informed by tensions in oil and water. The materiality of digital imaging technology, distance in viewing, and surreal representations in water forms are highlighted by minuscule film grains amplified after film scanning. The epistemology of water or way we come to learn and understand what water, is an ongoing endeavour. To then know what we are doing with technology, requires extended looking. The way something appears can obfuscate and reveal our relationship to the looking. Oil and water become elemental allegory for technocratic times. As Umberto Eco writes in several books on late modernity, images are read and our connections and relations are realised as a malleable surfaces. The natural beauty of the water is transformed by a hypnotic colour palette tied to screen technology. Viewing distances engage viewers in a sense of movement in stillness.
ELVELANGS I FAKKELLYS, Oslo, Norway, public installations for autumn 2018 & 2017. Elvelangs is an annual public event for all ages to celebrate the autumnal equinox on a night walk along the river. 2017 Installation at Smelteverket. 2018 dual-site Installation of Vesper Monumenter at Frysja in Nordre Aker Bydel and and Et Dypt Nett at Smelteverket.
VESPER MONUMENTER, 2018, 8 light refracting sculptures and lights with blue photo-gel filters, “Shimmer” video projection. The Vesper Monumenter sculptures reflect twilight hues while the video of background nature is projected on top. The G8 organisation and the way nature gets used on those pillars informed the temporary installation in the darkened landscape. The installation serves as a sketch of a concept for a permanent sculptural arrangement of 8 metal sculptures illuminated from beneath. The Vesper Monumenter is one site of a two-party installation. The second site includes Et dytt nett, or the contents of what one can find on the internet.
SHIMMER, 2018, single-channel video, original musical score. The video draws attention to visions of the background. The flickers of light of this background are emphasized due to the perceptual qualities in human, peripheral vision. Bringing the side-awarenesses of perception into the main focus of Shimmer Makes Light in the Periphery invites viewers to ingest the background and contemplate on often taken for granted forms in the nature of life.
MOUVEMENTS (BEVEGELSENE), 2015-2018, photography, variable sizes. Exhibitions at Vérité and Akers Mek in Oslo, Norway, 100 x 140 cm, Epson Archival Ink, mounted on kapa.
The Mouvements series looks at the materiality of digital imaging technology. Informed by tensions in oil and water resources, the sublime iridescence in water forms are highlighted by minuscule film grains amplified after film scanning. The mutable quality of water and beauty is activated by the hypnotic colour palette used in screen technology. The epistemology of water, or ways we come to understand intelligences in water remains an ongoing endeavour. To see what humans are doing with technology, invites and requires extended looking and consideration. By engaging distances in viewing, the ways appearances can obfuscate and reveal, expand and contract, engage the senses of movement and stillness through looking. The images in the series take up elements of oil and water as allegory for technocratic times. Umberto Eco wrote in several books on late modernity including Chronicles of a Liquid Society in nuanced detail, poetically posited in the series: images are read, and embodied cognitive connections and relations are realised as a malleable surfaces.
Teknovisuell Experience involves several layers in the materiality of the image, systems and processes in imaging, the vision-body relationship, and ways civilisations form understandings of nature. From an empirical, materialist philosophical standpoint, the works reflect on age-old discussions between Platonic and Sophist ideas, and the places spiritual and scientific ideas are permitted. Through the emphasis on the ethereal nature of screen-based technologies, the Teknovisuell Experience Details take-up these conversations both through the processes in which they were created and in the results of the viewers interactions and memories with images. By engaging the physical body with the vision, the distance in viewing engages viewers’ bodies in the opportunity to look at processes otherwise invisible to users of screen-based technology, but evident to builders of technology such as R&D, the coder, manufacturer and marketer. The details in Teknovisuell Experience were composed of the decomposition of images up and downloaded through social media channels; 7 times for each image. The final images reconstitute a representation, highlighting the way images become a form of cultural ritualisation. By further manipulating the image to highlight degraded visual qualities, and print at large scale or clip sections out as fragments, the various installation formats available engage viewers in contemplation of the areas in an increasingly liquid society. The scale and application of the image evokes motifs and patterns found in traditions of totems and textiles. Still images applied as wall coverings, pillars, scrolls or flags. Digital gifs of the images afford exhibition on screens and move static light reflections, creating visually ghostly movements.
Teknovisuell Experience, Public Installation of Detail #5, Otis College of Art and Design Admissions Office, Los Angeles, California, 2017. The artwork engages the relationships of body & space to image technology through the clarity of perceived images. The imaging processes displace and reform pigments and images, creating fuzzy borders. The Teknovisuell Experience series represents images of water as aesthetic and ethical qualities technology raises in our societies and is part of Virtual Material conversation,