In the photographic series Between Our Eyes (2011), the internet has been treated similar to a physical reality: While navigating and exploring a space, I photographed the people that interested me: Each image in the series is thus a re-photograph of an already existing, found photo. The outcome is a series of autonomous, abstract images, speaking about photographic identity and internet communication.

Each photo in the series is meant to exist as a unique, signed and framed print (sized 50×70cm) and will only be printed once.

To know a bit more of the project, you can read here this note in Vingt Magazine

or this post in Diane Pernets A Shaded View..

This is a sculptural object that I’m currently working on. The piece is rooted in the answers that various artists have given to me when I asked them the following question: “What would be the perfect exhibition space for you?”

The answers, which range from conventional to very, very alternative, are being visualized in model size, and integrated in the object, which is a container that looks like a stack of office file-holders . What comes out of it is a collection of “utopian exhibition spaces” which can be viewed one by one by pulling out a drawer in the container.

Photography, various sizes. (2004 – present)
This is a series that I started in 2004. Since then it’s grown quite a bit, and I’m still continuously expanding it.

A dance had taken place on the parking lot across the gallery the night before the exhibition opening, and only its sound was recorded. This sound is the piece.

The viewer puts on head phones and walks out of the gallery, into the parking lot while listening to the sound. The experience is a combination of listening to the dance that happened earlier and the experience of standing alone on the parking lot away from the main crowd in the gallery. This relocation of the gallery visitor evokes a feeling of privacy and possibly alienation.

By letting the viewer position himself where the dance took place, I aim to let the lonely dance event of the past “enter the body” of the viewer. This is an attempt to mix the past with the present as to give a sculptural, bodily experience involving imagination and melancholy.

Stranger, Performance-installation, Yerevan, Armenia (2008)

I was interested in the relation between me as a stranger in Yerevan and “local strangers”. I asked “strangers” (e.g. A black man, a Danish priest, an unhappy teenager) to lead me through “his/her Yerevan” guiding me from his/her house to anywhere he/she found important. I filmed our walk, but i did not film the person guiding me. (Because I didn’t want to expose the persons, I wanted rather to expose their view). I asked questions about life during the walk.

Then i made the performance-installation that you see on the photo: While listening (in head phones) to the talks we had, I wrote 1.person fictive stories based on the talks. It is thus a direct (real-time) interpretation of the talks. The bunch of hand written paper sheets was continuously growing while the audience was reading.

There is thus, during the performance, several kinds of communication going on at the same time: The audience looking at me, Me listening to the recordings I had made, Me writing my stories based on the recordings, The visitors reading the stories, Other  visitors looking at the visitors reading the stories.

By exposing myself as a stranger in the middle of the room (the only one in the room doing live performance) I become a stranger in the eye of the public.

During the performance, footage from the tours i had was shown (the view of the “stranger”, not the stranger himself is exposed in the video). The video presents the many different areas and different living standards in the city.

This is an ongoing project that takes form as occasional performances, mostly in solitude, in front of a video recorder.
During the performance, which lasts about an hour, I collect many of the objects in the room. Sometimes I build caves out of the objects, other times I leave them as “traces of a daily situation”. I cover each of the objects, one by one, with paper. Thereby I remove the identity of the object, leaving a sculptural volume.

The work exists as photography, and as video documentation.

This is an installation containing a sculpture as well as a video projection.

Room installation containing paper, paint, video projection.

Installation in a The Old Church, Asmterdam (NL)
My installation -among all the other spatual works in the church- was simply a video showing the empty church as it was before the expo, and it’s visitors entering the church being overwelmed with its grandness. This way, the viewers attention was removed from the exhibition for a moment, and back into the actual church room and the actual church visitors, and evoked thoughts about the space and the visitors in it.

Color photography (digital), varies sizes, 2007

When I made this photo, I thought a lot about what was being perceived as “reality”. Is this a photo of a sculpture? Or is it an image representing a human?  It is nothing but an image – an image of a sculpture. Is something real when it’s physically there, or can it be real because there is an image of it? Must something exist in the physical world in order to be real, must something be defined by a word in order to be real and can an idea – or an image existing only in the mind- be a kind of reality?
These were the things I had in mind when creating this photo.

Here a mix of some older, random darings and paintings.

Installation, 2006. Materials: Sculptures made of paper, cloth, puzzle.

The visitor is met with 2 lifesize sculptures arranged in a setting that reminds of a tennis field or a playground. The visitor walks through this almost theatre-like setting, passing by the sculptures while almost becoming part of the installation himself. At the very back of the room he finds a part of a puzzle hanging on the wall.

The installation aims to give the visitor a sculptural, physical experience. The work speaks about a feeling of deplacement and the human desire for longing for the past while dreaming of the future..it also speaks about the difference between the physical existence and cognitive existence.

Color photographs, varies sizes, series of 24 photos.

Hotel visitors photographed in their individual hotel beds, Belitz-Heilstaedten (DE) 2006