These projects cover some  of my work in recent years. I will fill in and expand at a leisurely pace.

Generally speaking, there are some lines that can be sighted in the work and maybe also contemporary influences, but, a thread through all my production and what today feels like a lifelong quest, is the investigation into dualities. How context shapes and forms. Fragmentation and defragmentation of meaning.

I go about this work with all the tools at my disposal, and consider it an equality of expression whether it’s  ultimately presented as a sound-piece , a sculpture, a film or a still image.

Usually I end up with several representations in the same project.

Physically, my still images are digitally printed on different types of material. Often heavy archive-quality watercolor paper in various sizes.

The animations, of which some are so slow in revealing themselves that they give the impression of being still images, are mainly presented as loops. Projected or on monitors. They loop in different time-spaces. 3 min - 5 min etc. Meant to run continuously, approximately indefinite.  Until the hardware breaks down.

The audio is mostly generated from my voice, processed in different software.

Poetic texts are written and recorded in conjunction with the work on the images and soundscape.

Life before the digital was... pleasant.

I came to this work through inspirations in Fine Art Photography. In the 70’s and early 80’s I knew who I admired among photographic artists and why.

Expecting also, of course, to be accepted by a small selection of my peers with similar interests.

Around 1985 all this changed. The desktop revolution provided the opportunity of working with digital imagery for most artists and I threw myself into what I considered at that time to be just a more advanced darkroom.

Immediately I felt on my own. Historically and artistically.

The photographic artists I used as references in my work, were no longer doing pieces I was interested in, and the digital artists getting attention in the field, did not pique my interest.

Generally speaking, the ones who mastered the tools were often designers or IT-people who could not feed my longings or resolve my challenges.

Life began centering around reading software manuals at all hours.

Slowly the field has changed and I now see more often work that I find challenging and enriching. Mainly through sites on  the web.

The accessibility and development of tools are at a point where an artist, nearly without a budget, in the digital media, can ”paint” and ”sculpt”  with sampled visuals and audio files, in the highest quality.

Responding to the gravitational forces weighing down Jean Cocteau’s saying from the 30s that : ”...film can not become an art-form until it is as simple as picking up a pencil and start writing on a piece of paper”

God-like, in “one-voiced-ness”... with one sentiment, decide tonality and colour of every sample or pixel, the smallest denominators of digitized material.

Like a painter working a canvas or a sculptor kneading clay. Creating an experience of space by reverberations in the soundscape and placement by panning in multichannel sound. Deciding the history of events in timeline-based expressions.

I have been trying to utilize these aesthetics. Merging the analytic, logical or linear thought developing the tools, with the poetic, irrational, instinct-driven.

Creating a grammar maybe, or an alphabet in the digital primeval soup.

Most likely though, I play around, try to have an interesting life and to learn something new and something old at the same time.

            Lavasir Nordrum