A constant, a “tuning fork”, and what today feels like a lifelong journey, is the investigation into dualities.  In conflict or in parallell, moving towards complexity or simplicity. –  I’m also occupied with the consequences of visibility on the work and how context shapes and forms.

I have been moved to question the predictable or foreseeable. Not content with a static product I knew would change and morph into something else the next day, it has always felt right to challenge viewers to look past the mythologies and actively into the artistic practice. To join me on the journey. Maybe also to carry two, sometimes contradictory, lines of thought on the work at the same time.

This has complicated the building of a normal artist career, but chance projects have always come my way when times  seemed the most bleak, and I have been able to continue on this fragile journey. Focusing on the work and a realisation of responsibility to live an intelligent life.

It was fortunate to start showing my work in the mid-70’s. Catching a wave of awareness on art photography. In the mid-80’s I began having gallery shows that opened with empty frames. A new picture would be executed and appear daily until the show ended. A friend suggested calling this practice “deadline-art”.  Exhibitions with “daily” deadlines, became a norm for a while. Often with poets or writers who produced their pieces under the same conditions. In the beginning of the 90’s I started investigating advances in high tech / low cost technology to mix and match images, text and sounds in timelinebased projects, and around 2000 I started performing these live in the then new digital cinema halls. Since January 2010 my main project has been a monthly delivery of large prints to a “secret” art club here in Oslo, as well as turning found pieces of ..anything, into short poetic film loops. Prequels, if you like, to the large printed still images. Animated timeline-based expressions coming to a standstill, handing over the narrative and timing of events to the viewer in frozen images.

It has always been important for me to be “hands-on”. Whether in the production of film, text, animation, soundscapes or stills photography. Not from a love of craft, but to be able to engineer serendipity. The lack of an “expert touch” allows me somehow to nurture the lucky mistakes.
On some level at least, this practice is also often what I look for in other artists work.

The still images are now typically remixes of analog negatives.  New composites based on quality scans from my eclectic archive of different sizes of negatives from the many analog projects I have been moved to make over the years. Stripped of time, place and context, they become new composites belonging only to themselves.

The moving images are made with digital still-cameras, sequenced and reworked in different software. They are often presented as loops and meant to run continuously, approximately indefinite, until the hardware breaks down. Some so slow in revealing themselves that they give the impression of being projected still images.

Not waiting for financing, or approval, give me the opportunity to observe and learn from the gentle fragmentation and de-fragmentation in the processes.

And again, ..and always:  Hoping to stumble over something beyond my capacity. Learning something new and something old at the same time.









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