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




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

In October 2019 I made a time capsule in collaboration with Altaïr Pelissier and Dima Lambrianov, materialised as a website. For two weeks, people were 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. How quickly would the present moment as depicted in the media and its urgent matters feel like a distant past?
This saturday, at 13:13 CET, the time has come to open the time capsule and reveal the content.
This time, the event will happen 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»



«Tidskapsel 1», 2018


A sculpture consisting of artificial ferns, a postcard from northern Norway,
and an arabic/norwegian keyboard, cast in epoxy. Epoxy as a material is petroleum derived,
like plastic, which can be associated with a disposable use, but has the potential to last forever.
The items are placed in a way that suggests a fusion between laptop- and smartphone screens,
the postcard being a lenticular print and therefore disrupting the otherwise motionless form.



«Skjermbilde 1» & «Skjermbilde 2», 2018

A sculpture consisting of six screenshots between plexi on top of a log,
held together with electrical cords, with a headset attached to the log.
The audio is a mix of youtube recordings made with binaural microphones,
creating a three dimensional listening effect known as “ASMR”.
The recordings involve people chopping wood, and cleaning the leaves of a plant,
with intimate and soft sounding voices to enhance the listeners experience.
This hyper realistic internet phenomenon contrasts with the motionless screenshots.


The World Has Already Been Filmed, 2018
short version:

A video showing animations of planet earth and footage of the sun, projected inside my living room,
in addition to footage of the landscape at Sognsvann projected onto Sognsvann again one year later.


«A Correct Time Does Exist», 2017

An installation consisting of fake plants, pottery made of plastic,
digital metronomes and a screen showing recordings of lamps.
Every item is imitating another material or trait than what it originally embodies.
The metronomes are set to tick near synchronisation, but not quite,
resulting in a rhythmic variation. Unlike a clock, which has an insisting
correctness to it, the sound of a metronome gives a more subjective approach to time.



BA exhibition «Avgang», 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.


Woodcut series «Reduction», 2017

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.