“Who renounces on this basis ‘silence’, in order to affirm his existence.” Michel Laroche
Identifying subjects by recreate, mimesis of, nostalgic scenery.
Reading Zhuangzi, praise nostelgia, blinking eyes, heaps of unfinished drawings, deep breathing, ideas, and silence. At the nook.
"Does God know?, 'Snakker du norsk?'"
Sound installation with drawing on papers, 2018
“Snakker du norsk?” – Repetitive automated voice by translate program.
The work is meant to convey the monolithic questions that foreigners, who are subjected to while settling in a new country. The voice is automated and robotic to symbolize the impersonal nature of the question. It does not delve into the personality of the person being asked, nor does it lend itself to discover anything of his or her moral character. The question can therefore easily be interpreted as the questioner to try to find out the practical utility of the person being asked. This is especially true when it is the first question being asked in conversation.
However, this is not the only perspective that should be performed. We have to keep in mind that the question comes from a desire for communication which again stems from a wish to interact and is therefore at it’s core something positive. But being constantly asked, weather you speak the language or not, can over time be draining and serve as a reminder of our own short comings and instill a feeling of not living up to our community’s expectations, without these expectations ever being overtly stated.
“The doors” – Watercolor on paper
The work is in line with another piece “Snakker du norsk?”. But also, it stands for independent piece itself.
The work is meant to be a reminder of the constant flux and decision we’re subjected to in our daily lives. We’re in constant transition, and rarely have the information to make full formed decisions about our future. As such, we can never know what’s on the other side of the door. Which door should we choose?
The drawings of doors are meant to symbolize distance from us to things we are facing in our lives. It is uncertainty and at the same time, a ‘comment’ upon a common condition, a lot of stuffs from our lives: We have a lot of choices, a lot of information, and we’re expected to do something more than ever to make informed and rational decision. About our relationship with others, future, families, finances, and what so ever. The reality is however, that many of us has never felt more uncertainty, bewildered, and anxious. Then we are creating a door have distance, to protect ourselves from others and to separate you and me.
Taste of Longyearbyen.
Quite, Order, Dignity, Composure.
“Edle Einfalt und stille Größe”
‘뒷모습 – 이면(裏面)을 보는 즐거움/From backside’
light installation, film, painting, 2017, Daegu Seogu Culture center.
“People experience a great delight in colour, generally. The eye requires it as much as it requires light. We have only to remember the refreshing sensation we experience, if on a cloudy day the sun illuminates a single portion of the scene before us and displays its colours.”
Note C C. 759. Johann Wolfgang Goethe, Theory of Colour 1810.
‘hEAR me – no.52’ Acrylic on canvas, 80x100cm, 2017
‘hEar me.’, Clay, 117x97x70cm, 2016 –
Tensions between various shapes and the space are inevitable.
The inevitable retribution can be just an ordinary
but also quite special at the same time.
‘Flow-‘, Poster for individual work, Graduation exhibition in Bergen kunsthall, 2017
‘Flow-‘ Video installation, Egg cartons, Sketches of my left hand, pictures, 666x202x260cm, Bergen kunsthall, 2017
‘‘Flow-817’, Egg cartons, 50x11x189cm, 2017
‘Flow-281’, Sketches of left hand on paper, 6x6x6cm, 2017
‘Flow-Spectrums’, Pictures of human back, 5x5cm each, 2017
‘Flow-817′, Video installation, 1:00’ on loop, 2017
‘The still point of the turning world’, Hemp cloth, 56x480cm, Bergen Kjøtt, Norway
“Alethea”, sound and light installation, 2015
“How is your door?”, performance, 2015
“In silence”, installation, 2015
“I call”,1:53′, Sound installation, 2014
“Memento”(touch,smell,listen), Installation, 2014