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.
RUISSEAU (HOLOCENE), 2018, film photography, 68,14 x 101,6 cm (26,8 x 40 in). Streams of sand, water, and remnants of stone in Lofoten, Norway, create formal currents and visual abstractions.
HUMAN NEEDS, 2013 – ongoing, size noted under each image. Looking into the nature of desire was the primary motivation behind these works. Forms in water and terrain are used to create visceral imagery. The aesthetic relationships appear at first glance as mirroring, and with longer looking nuanced differences. The works are created to be of scale, confronting the viewer’s body with forms and hues found in the Nordic landscape.
The Print Ateliér represents selected images from Human Needs (external link).
INCARNER DES ROSES, 2016, film photography, sizes variable. Incarner des roses means to embody the roses. The rose has long been identified for beauty and symbolic memory of the process of life. The series carries the final blossoming to a final meeting of the river, as a current of life. The artwork was made a mistaken gift. The bunch of roses a trope of romance, signifies a formality that begs of no specific recipient. The gift was denied for its lack of direction. The roses were taken to the stream, photographed and developed to highlight the colours and forms.
EVERYWHICHWAY, 2015, film photography, sizes variable. Triple exposure images merge three subjects chosen for their symbolic and material properties: roses, water, and a third subject as a variable. A portrayal of the potential for a single image to represent the multitude of layers in a lived experience, make visible the cacophony of detail available prior to the event settling and being replayed as a (memory) story. Screen memories are described in Freudian psychology as a filter which blocks early childhood memories. Using the surface quality of an image, interpreted as a screen as a reflective surface where all experiences are present, moving, and rising. A question of depth in memory recall, misunderstanding and reforming time offers viewers a look into a personal interpretation of narrative.