I was born in Oslo in 1965. All my adult life I have felt pulled between two positions – between engagements in society – and art. Up until the late 1990’s my involvement with society had tended to win this battle, but this would prove to change. During the Yugoslavian war and other conflicted areas in the early 90’s I began working with refugees and victims of war. This work resulted in me losing trust in the authorities’ actions. I left the established society, but after some years on the “edge”, I started to form my experiences as artistic expressions. I soon felt the need to gain more knowledge on both a procedural level and within philosophy of art. This search for knowledge resulted in a decade of art studies.
I am ideologically inspired by the early surrealist movement, with its enigmatic perspectives, enigmatic places and its philosophy of automatism. I work with contradictions related to ideologies and norms, and in this I find affiliation in the early surrealists’ criticism of imperialism and cultural fetishism as it is brought up to date in the current social debate, values and mind set. Together with focus on social contradictions I challenge taboos related to our way of life, our faith and our roles. I seek out to visualize the spaces that are formed as inner thoughts and ideologies meet the outer world. Each of his photographs contains dualisms’, always showing a game between concrete reality and abstract thoughts.
I work with Instant films, where I always combine elements beyond my control together with the motifs I have consciously chosen. The surroundings I choose for my photography have always a meaning for what I express, and their contributions are not only on an ideological level, but on a concrete one as well. By pressing the films onto the photographed subject, a chemical process forms by particles from the photographed, blending with and affecting the films’ emulsion.
2016 - La Grande PHOTO – International Photography Awards, 2016 - MIFA – Moscow International Foto Awards
Some stories are hard to tell, hard to understand – even for the storyteller. Often this stories are quiet down, held away for a possible listener, just because the pain. These stories often miss wholeness, and only consist of twisted fragments. Fragments as pieces in a puzzle you don’t know how will end, if there is an ending at all. Some will maybe advice one to let it all be, let the pieces in the puzzle be absorbed of the ocean of time, hope this ocean will wash away the pictures. Hope that it doesn’t make you feel fragmented and left behind.
I have since the fall of 2014 worked with a project about contradictions related to our Western view on mortality.
When we experience that asking questions about what will happen with the body after death is a taboo when it is not related to philosophy, religion or fantasy, it is only natural that we try to ignore such questions. Because of this taboo, I need to find a language and a tool for communication, which makes it easier to talk about aging, death and decay. The photographs in this series are intended as both tools for language, a key that can open a conversation door, but also a personal experiment with my own mortality. When making the photographs I place myself as a part of the aging, dying and decomposing nature.