Generally speaking, some sight-lines can be observed in the work over the years and maybe also commonalities and contemporary influences. But, a thread through all my projects and what today feels like a lifelong quest, is the investigation into dualities.

How context shapes and forms. Transformations from one state to another. Instabilities. Two-sidedness. The transitional periods. Fragmentation and defragmentation.

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.

I can end up with several different media in the same project.

The still images are digitally printed on different types of material. Predominately heavy archive-quality watercolor paper in various sizes.

The animations, some of which are so slow in revealing themselves that they give the impression of being still images, are mainly presented as loops, projected or on monitors. The loops run for 3-5 min. and are meant to run continuously, approximately indefinite - until the hardware breaks down.

The audio is mostly generated by my voice, processed with different software. The Poetics are written and recorded in conjunction with the work on the images and soundscapes.

Life before digital was... pleasant.

I started out in Fine Art Photography back in the seventies. I was inspired by and admired certain photographic artists and I knew why.

Much changed around 1985, however. The desktop revolution provided artists the opportunity of working with digital imagery, and I threw myself into what I considered at that time to be little more than an 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 at first tended to be designers or IT-people, who could not feed my longings or resolve my challenges

Life began to center around reading software manuals at all hours. Strivings and explorations into the digital also led me to pick up timeline-based expressions in my work.

The accessibility and development of film-making tools allows  digital media artists on a low-budget, to “paint” and “sculpt” with sampled visual and audio files, still produce work of the highest technical quality.

The gravitational forces that weighed down Jean Cocteau’s film efforts in the 30’s led him to famously say, “...film will not become an art-form until it is as simple to execute as picking up a pencil and writing on a piece of paper”.

God-like and in “One-voicedness”, the digital artist today defines the colour and tonality of every sample or pixel – the smallest denominators of digitized material; like a painter working a canvas or a sculptor kneading clay. Creating the experience of space with reverberations in the soundscape and placement in multichannel sound, deciding the sequence of events in timeline-based expressions.

The work evolves from merging of the analytic, logical or linear thought that goes into the tools with poetic, irrational and instinct-driven inspiration. Creating the alphabet or grammar for a primeval, digital soup.

Most likely, however, I just play around, trying to find information that I can make my own, learning something new and something old at the same time.