Displacements, selected works 2005 –
Focus on photographs ability to move the idea of place and cause a confusion by its mere appearance- the right thing in the wrong place and vice versa. A specific interest in letting a person be the vehicle of the story told through the installations, getting close to a kind of portrait. Using low resolution material as a method to make illusion tangible.
Negotiating Art, selected works 1998 – 2001
A serial of works questioning the art object as commodity and the art scene as something deeply conservatory, still being there with my work. Light as material. Ending in doubt over a possible return of the modernistic art object. Moving from the jet-ink prints back to the photographic image in its new form, without passing trough negatives.
Ideals and Survival, selected works 1993 – 98
The jet-ink prints and the work with archive material opened to the image as something ephemeral and circulating, just as the human body experiencing them. The take-over of space enforced by architectural elements. The content of the images focused on acute situations in order to underline the weakness of materials constituting them (ink on thin paper glued directly on the walls).
Seeing the Sublime, selected works 1990 – 93
Coming from a sculptors training, working with photos was a revelation; the photographic image is the image’s equivalent to the Ready Made. The problem was not primarily of doing but of choosing. I picked up some, among photographers, neglected aspects such as scale and the photographs relation to space.
Work in Public Space
Under this heading I’ve put a number of works that has been produced in specific context’s, outside the white cube or having been placed outside the white cube for a specific reason. The idea that the context inflicts meaning on the art-work itself has always been of great importance to me. In public space as well as whithin the white cube. The difference lies rather in the process than in the way of thinking. The white cube is a well known constant and serve as such when you want to be media specific. In public space the challenge is given by the situation to a larger extent and is whithout control as of it’s reception and political implications. It’s a more open situation, for good and for bad.