Series of paintings, acrylic paint on linen canvas, 195 x 150 cm each
Ubiquitous colour and the timeless grid
Vibrant, subtle, mutable colour. Stark and gentle. Reticent and exuberant. Physical, emotional, enigmatic colour.
The paintings draw on and document predetermined restrictions in combination with the force of the unpredictable and
the power of colour. The grid functions as a scaffold to build and hold colour.
A vertical canvas, a grid structure and a monochrome scheme of running paint provide the framework in which a sequence of variables and permutations are set in motion. Irregularities of hand, line and mark, intensity of pigment and tone, variations in pattern and rhythm determine the perceptual shifts in the pictorial space. As these variables unfold, they become the elements that activate and identify each painting.
In these grid compositions light washes of translucent paint run down the surface from square patches of soft colour.
The runs of paint seem to be simultaneously unravelling the monochrome patchwork and holding it together.
Fringe 2017 – 2018
Imbiß 2016 – 2017
Two series of paintings, acrylic paint on canvas, 150 x 150 cm each
Fleeting bites of time
Painting is a physical and material passage in time. In these square canvases monochromatic traces of swift activity dominate. Horizontal rows of repeated marks are rapidly sponged across the canvas. Quick notations of abstract utterances run from left to right. Traces of ready movement in paint and colour. A fast pace of immediate action.
Länk (Link) 2013 – 2017
Wall mosaics for Stockholm Odenplan Station, Stockholm City Line
Public Commission: SL Storstockholms Lokaltrafik
Two glass mosaic wall panels: 2,50 x 16,25 m and 2,50 x 20,90 m
Located in a central connecting area of the vast underground surroundings of the Odenplan station, Länk examines and celebrates movement through urban spaces. The colourful chain-motif represents connection, sequence, and succession of events.
We know ornament as accessory and adornment that creates a particular aesthetic order. I have a vivid childhood memory of colouring strips of paper with wax crayons to make decorative paper chains. When hanging they activated and dramatically changed the space. A combination of this memory with questions about the function of ornament was the starting point for this commission.
The physical impact of scale shapes our behaviour and response. In moving through public space, with its rush and push and moments of solitude and detachment, this work is intended to function as a visual marker and symbol that facilitates recognition and orientation. Movement through the space activates changing perspectives of the detailed mosaic surfaces.
Chain 2011 – 2014
Painting - textile objects - installation
Intrigued by how the aesthetic device of ornament can trigger such powerfully contrasting responses as delight and antagonism, I started to rework images of decorative paraphernalia such as garlands, chains, ribbons, frills, and fringes.
The works combine formal and material restraint with notions of excess and décor. Painted monochrome canvases are folded and unfolded or cut into strips to make garland objects of canvas chains.
c-print, 100 x 120 cm
A modest gravestone simply inscribed with the name Achilles.
Mind How You Go 2010
c-print, 120 x 100 cm
Folly 2006 – 2008
This body of work includes two installations, Trouble in Utopia and Fearful Symmetry, and a series of paintings titled Pearl.
A folly is a building that to a great extent functions as ornament. The best follies are wonderfully mad and eccentric constructions. As monuments to affluence and excess they seem to represent both function and dysfunction in society.
As source for this project I investigated the ideas, language, and narratives of ‘The Fold’, a concept connected to baroque art, architecture and philosophy.
Trouble in Utopia is an unstable horizontal expanse of ninety-six stacks. A precarious structure that consists of precisely stacked, unfixed wooden elements. This work is a continuation of the earlier Lattice and Tartan works from 1997 – 2001.
Fearful Symmetry is comprised of ten paintings and a constellation five unstable linear floor structures (Small Walls Gold). The low structures are built of painted wooden elements stacked unfixed on the floor. The silver paintings of organic symmetrical figures originate from large paint blots. The golden boundary lines define new spaces, creating a different order in the space. During the exhibition the Small Walls get displaced by unsuspecting visitors. Some people react by carefully rebuilding, others move swiftly on and away.
The symmetrical images of the seven Pearl paintings are derived from large paint blots. The making of paint blots requires actions of folding and unfolding to create unexpected images. The blots are random shapes, open, vacant images that await responses of association and reference. A pearl begins as a response to an irritant.
Pure and Promiscuous 2001 – 2005
Photography is an accessible and suggestive medium that encourages construction, exaggeration and distortion. Working with photography is an extension of my work with painting, sculpture and installation. Having addressed modernist dogma and redressed the Grid, I wanted to take a closer look at issues of nature and narration connected to
aspects of gender and vanity. In these photographic works I continue to examine the formal properties, attributes and connotations of the vertical and the horizontal. As paradox and paradigm Pure and Promiscuous is an active condition
of mutable circumstance open to changing perspectives and unpredictable outcomes.
I am Nature
Series of 8 c-prints, 84 x 69 cm each, 2001
The title refers to Jackson Pollock and his response to the question ‘Why don’t you paint nature?’
I was thinking about how we can identify with nature as a physical body. The impulse of attributing nature with human sensitivity and emotion. A recognition of the interrelation of man and nature.
These images of trees intertwined with fences were taken in central Oslo.
Series of 10 pairs, c-print, 100 x 83 cm each (x 2), 2002-2004
Paradoxical phrases such as ‘pointedly foolish’, ‘seriously funny’, ‘bitter sweet’ and ‘pretty ugly', provided a starting
point for this series of paired photographs.The word ‘close’ changes due to context, intonation and pronunciation. Shifting meaning from the near and connected into an enclosed place or a stifling atmosphere. 'Close' can imply similarity or a sense of intensity.
The paired photographs invite considerations of repetition, sequence, contrast and comparison.
A collection of 'strangely familiar' episodes, obscure narratives and intimate observations.
A matter of being close, not closed.
Series of 6 c-prints, 89 x 70 cm each, 2003
Stripped down and making a spectacle of myself, I address aspects of perception, body and gender.
The series titled Impression refers to the body as medium and material for aesthetic creation and site for experience and contemplation. Skin as a border between self and the world. A notion of art practice as a ‘second skin’ that absorbs and protects. What is only skin deep and what gets under your skin?
Lattice and Tartan 1997 – 2001
Painting - three-dimensional constructions - installation
Imagine Piet Mondrian dancing boogie-woogie in a kilt.
In this body of work, the horizontal and vertical directions of the grid meet textile connotations and questions of clan identity. Scottish tartans are vibrant grid patterns traditionally woven as a woollen cloth, each clan with their own colours, pattern and motto. The geometric framework of the grid is a basic formal device that became an emblem, heroic motto and leitmotif of modernism. Weaving and stacking are foundations of construction. Diverting the modernist grid by referring to aspects of textile history suggests a more flexible and inclusive scope of influence, context, and interpretation.
Ridå 1997 – 1998
Stage curtain for the main auditorium of Moderna Museet, Stockholm
Public commission: Statens Konstråd, Stockholm
Cotton velvet fabric. 4,6 x 17 m
Velvet is a textile that is often used for stage curtains. I was interested in the interplay of the alternating, contrasting qualities of the velvet fabric seen as contrasts of the visible and the hidden, of onstage and backstage. The shiny reflective thick pile of the front side and the contrasting matt obverse side. The ordinarily reverse and hidden surface of the velvet material has been given a prominent position. This 'other side' of the moss green velvet is exposed as two asymmetrically placed, pale green vertical stripes. The repeated vertical stripes of the monochrome textile have the same width as the surrounding wooden panelling of the auditorium interior.
Containers 1994 – 1995
After the dense symbolism of the Major Arcana, I was interested in colour as a lighter, purer substance, unnamed other than as content. The interior of each Container consists of different combinations of monochrome planes. The reflected colour from these painted surfaces creates illusory and luminous spaces. A vertical opening in each Container controls physical access. The more open the Container is to physical entry the fainter the interior colour becomes. The most closed Container gives a dark and black impression. The remaining four Containers give impressions of glowing red, fluorescent green, blushing rose, and evaporating pink.
22 Paintings 1991 – 1992
Twenty-two paintings, oil on canvas, 192 x 82 cm each
I laughed at the humorous yet derisive interpretation of the abstract-geometric image being a 'sleeping man with large sombrero' (two concentric circles: a small circle within a much larger). The friction between the abstract and the representational, the self-referential and the symbolic-narrative called for closer inspection.
The symbols and allegories of the Tarot present a curious and compelling mix of the popular and the obscure.
The twenty-two trump cards and Major Arcana of the Tarot, numbered 0 – 21, can be interpreted as a pictorial procession of life’s significant events. Used for fortune telling, the Tarot is connected to occult divination and esoteric traditions such as the Kabbalah and numerology.
In my version of the Major Arcana I tried to achieve balance between contrasting principles and conflicting dogma.
My intention was to combine a formal, minimalist vocabulary with vivid colour, quasi-figurative elements and highly symbolical, metaphorical titles.