“Maybe you are searching among the branches for what only appears in the roots.” -Rumi

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. As Elaine Scarry writes in On Beauty and Being Just, Beauty offers experiences leading to resolutions of inner turmoil. The balance of energy, motivation, and resources for a tree to grow also follows in traditions of seekers and sages of wisdom. The series is represented by Albumen Gallery.










SUBLIME TIMESCAPES, 2016 – ongoing, film photography. Working with photography to look at vision and structures of flow in nature, the series looks at the ways human understandings in embodied cognition differ from algorithmic learning in artificial intelligence.


The ability to extract and invent new forms in visual flow through turbulence are well documented throughout histories in painting. Painters have used water to depict visible and etherial flows, spanning Katsushika Hokusai, Gai Wang, DaVinci, Vincent Van Gogh, Pollack, and today’s machine translated representations from NASA’s imaging technology, geological terrain mapping, and medical imaging processes. Within the technocratic time, use of digitally modelled stories rendered by machine contribute to Artificial Intelligence’s attempts to work processes painters and technicians depicted through samples of copies. In an attempt to access direct experience through flow and turbulence representation, the analogue camera offers a tool easier to get one’s hands on.


Working to gain more direct understanding, the images in Sublime Timescapes employ the biological connection analogue photography has, instead of programming and datasets. The translation of those chemistry made images into digital spaces through imaging technology, is another focus in the series. Working with traditions in sublime painting through a lens, the film does the looking while the photographer works time adjusting aperture and shutter. A rangefinder performs as an apparatus to imprint 1:1 what was a priori (already there). By working with what was already there instead of sampling representations, Sublime Timescapes mediates on what time is. As often as phenomena in plain sight goes unnoticed, the series aims to more discreetly connect flow and turbulence within landscapes of the viewer and environment.

Surreal Timescapes make these structures sensible to viewers through the materiality of imaging. By fusing histories of the sublime in painting through analogue mechanisms of the camera, sensual and textural abstractions become ghost images, refractions and remnants, mirrored in the viewers psyche. Through visual literacy, the images write towards sublime understandings. In these aesthetic relationships, the vision (eyes) and the conception (sacrum) invite ethical conversations and meditations on internal/external relationships between humans and nature.

Sublime Timescapes makes use of film, once used for everyday picture making, to connect the sublime of historical paintings with the presence of these abstract beauty in the everyday. Colours in the series are heavy with magenta and amber due to the enhancement of the pigments in the film itself. Magenta is understood as a unique facet to human vision, created with embodied cognition and not on objective frequency wavelengths. amber is a resin with a relationship to the electron, in that the material of amber can be negatively charged. In ancient folk medicine, amber (Chasmal), was understood as an electrical conductor. Formed by the accumulated sap hardened over time, amber protects the body from subtle harmful energies and revives benevolent energies from the heart and circulatory systems. In the way these material properties of physical matter are mirrored in the reflexivity of the photographic process, the resulting frames invites concentration on the proposed divide between imagination and subject depicted. The structure of these connections to materiality and imaging are created to foster a benevolent flow for the viewer.









RUISSEAU (HOLOCENE), 2018, film photography, 68,14 x 101,6 cm (26,8 x 40 in). Ruisseau Holocene is a reflection on how we perceive time and nature. The residue deposited over time in the sands of the Lofoten islands, in the North of Norway, creates endless streams of changing formations. The series is represented by Albumen Gallery.
























INCARNER DES ROSES, 2016, film photography, sizes variable. Incarner des roses means to embody the roses. The rose has long serves as a symbol for beauty and memory of life processes. The series carries blossoming to a final meeting of the current of life. The practice of rose offering carries varied cultural significances. The series is represented by Albumen Gallery.










EVERYWHICHWAY, 2015, film photography, sizes variable. Triple exposure images merge three instances of: roses, water, and a variable. Single images representing the multitude of (unnoticed and/or misremembered) layers in lived experience, draw forward to a singular viewing plane, a cacophony of visual information. Looking into the experience of perception, memories are placed with the present and the future. This kind of recognition of time as fluid connectivity loosens up the hard edges of both the Screen Memory concept and frame of the camera mechanism itself. By attempting to work with a constructed filter (roses, water, variable) to access memories, viewers are invited to consider the surface quality of an image as a visual field. This field used for interpreting reflective surfaces where experiences past, present, future converge, the depths and limits of memory recall, methods of understanding, psyche reformation, and a personal interpretation of narrative.