I was born in Oslo in 1965. All my adult life I’ve felt myself being pulled between two positions – between my engagement in society and art. Up until the late 1990s’ 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 90s’ I began working with refugees and victims of war. This work resulted in me losing trust in the authorities’ actions, as I experienced humanitarian crises as a result of thorough political ignorance and a superficial view of humanity, on a daily basis. In the mid 90s’ I could no longer be part of such a system, and I moved further and further towards an unstable existence, on the edge of our established society during the following years. It was first when I rediscovered expressing myself artistically that I managed to get the sense of a foundation gradually forming beneath my feet. As this foundation grew more solid, I 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. As such, my expressions within camera-based art reflect my experiences, my reflections on society and my studies.
I am ideologically inspired by the early surrealist movement, with its enigmatic pictograms, enigmatic places and its philosophy of automatism. I work with contradictions related to ideologies and norms, and in this I find 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. Here I seek out to visualise the spaces that are formed as inner thoughts and ideologies meet the outer world. Each of my photographs contains dualisms, always showing a game between concrete reality and abstract thought.
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.