Strømforgreininger, 2021

3 channel video, 17:43 min
Exhibited at Akademirommet in relation to solo MFA grad show. The footage is based on 3D scans/photogrammetry from the area Svartdalen in Oslo.

3 minutes, 2020
video, 03:52 min
Exhibited at ExClub Helsinki’s online exhibition «They Came And Ate All The Seeds»


Surfacing, 2020
Video 15:41 min


Video installation exhibited as multi channel with surround sound at Arteriet in Kristiansand and Vapaan Taiteen Tila in Helsinki. The video shows humans, ants and bats moving in distinct formations and patterns through natural landscape in Finland, Norway and Mexico. The humans, much like the animals, are moving around without instruction or a leader, as is moving on some collective intuition. The audio is a mix of field recordings and contact mic recordings of the sceneries surfaces, and become gradually more repetitive when group movements starts to form patterns or circles.

Forming A Memory Of The Present In The Present Itself, Website time capsule, 2019:

October 2019 – A time capsule in collaboration with Altaïr Pelissier and Dima Lambrianov, materialised as a website. For two weeks, the public was invited to anonymously upload jpegs and video links related to the focus of the current media coverage of the time. At 13:13 o’clock on the 31st of October 2019, the time capsule automatically closed, hiding the content with a countdown element in its stead, set to reopen just 1 year later.
October 31st 2020 at 13:13 CET, the time had come to open the time capsule and reveal the content.
This time, the event happened as an online event (and not as a projection in a physical basement like last year), for obvious reasons.

Con Fusion, 2019
video, 02:58 min
Exhibited under the Malta platform «What Do We Do Now» as part of the international internet biennale «The Wrong»

The World Has Already Been Filmed,

Footage of the landscape at Sognsvann projected onto Sognsvann again one year later.

BA exhibition at Oslo National Academy of the Arts, 2016

My bachelor project exhibited in blackbox at KhiO in 2016.
The videos show recordings of myself clapping and running
on the spot in an exaggerated manner, dissociating the repetitive
everyday actions from their functional context.
The projections are slowly circulating around in the rig,
programmed to add a slight delay in the splits between each projector.
The audio is circulating through five speakers around the room in the opposite direction.

Reduction, 2017
Woodcut series

The prints were exhibited as musical records in LP sleeves,
with download links to audio extracted from the patterns in the prints, via music software.
Annual rings works as measurements of the time a tree has lived,
yet are only visible once you cut the tree down, and with that, ends its course of time.
I traced the pattern of the annual rings in plates of pine wood.
I cut the plates’ pattern in vertical lines doing mechanical movements by hand,
to imitate a digital expression that opposed the natural, dynamic annual rings.
I then translated the pattern to sound via music software.
In the music software, the image was scanned from left to right,
using the composition and colours of the print to evoke a melody,
ending up with a 30 second digital sound file that supposedly represented
the annual rings, like a false equation comparing two very different spans of time
through visual and sound based expressions.

Density, 2017
Woodcut on plexi, 120×80 cm

Oil based ink and fluorescent light made for greenhouse.
The cut out lines are following the pattern of the annual rings in a plate of wood. It is printed with oil based ink onto the oil based surface of the plexi, transferring the texture and tactility of the pine wood to the plexi.