A PRECISE MEASURE OF FREEDOM


A contemplative observation of men and women in transit. Searching for information and guidance regarding their journey on the info-screens at an airport.  With an extremely slow, yet a clearly perceptible experience of motion, time in this loop is stretched nearly to a breaking point. It becomes uncertain whether a still-image is being projected, or if this is a filmatic sequence.

 Please watch in full-screen mode, and give this 5 min. sample a little time to present itself.

The piece clandestinely observes individuality in the timing of events in the lives of different people. It is not obvious when an answer to their search is obtained and they can move on.

In an ideal setting, a monumental format in the projection of these “non-movements” would strengthen and give depth to the experience. With a free floor in front of the projection, one can walk up to the larger-than-life versions of the “seekers”, observing details in the changes, or stand back and take in the whole piece.


On smaller screens, loops reflecting the larger projection;   

Image, text and sounds with poetic intent, written, sampled, worked and reworked, more or less simultaneously.

Kneading this… like sculpting with clay. Now from the sound or the text-side, now from the image-side. Hopefully achieving “oneness” or coherence in the processes.

Traditionally multi-medial collaborations shaped into “one-hand” expressions.


I like words. Words not used in gossip, as weapons, or for empowerment. The words I like are the intuitive orderings of thought.

Much in the same way as with the imagery and the soundscapes, I explore sampling-techniques in my text-based work. Trying to make meaning out of impressionable words passing me by. Not what is written, but what it makes me write.

I would probably have preferred to write in Norwegian (..a language of poets), but, being reminded by the words of Nasreddin: “..in that language you will not go very far”, I do the text-work in English. The translation in my head, sometimes, also helps me keep distance to traces of sentimentality, or theatricality in the wordings.

The sometimes melodic soundscapes are typically made by sampling and manipulating my voice, or can stem from recording-sessions making sounds on instruments I do not know how to play. Trying to be prepared for fortuitous sounds that appear. (I also keep an eye/ear on the wonderful free samples given away with some music magazines and public domain libraries on the net)

The visuals are sampled with digital still cameras at different time intervals, then processed in software.

This project, along with my: INTO THE MENDICANT-project, is constantly being remixed and reworked. Hopefully reaching their potential before I  publish.