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.
It starts with impressions, colored by experiences from then and now, elusive thoughts that have begun to accumulate. The next step is a search for words. I find a word, a descriptive word such. It takes time for it to settle down. Initially it is trembling around my inner universe, disappears and comes back. Sometimes it comes as a synonym or a new variant of itself. Sometimes it does not come back at all, and I have to move on, find a new word. Perhaps the first word comes back with a new meaning later. I find two words. The words form a basis of the first concrete thoughts, collect and gather the first elusive impressions. They become sketches and out from sketches pops new words or a phrase that covers all the nuances of the images that are now starting to appear.
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.