Artistic statement


My works describes a frozen course of events where we understand that there is a before and after, but we also realize that these states are hidden in obscurity. The work bear secrets: They hide something inside of their hollow bodies and do not divulge all of their answers. As abandoned objects they symbolize failure and sadness, but also the promise of a continuation. As an artist I reside in a borderland between abstraction and realism. I want to bring the decorative form back to an analytical reality while concealing the realistic depiction in an abstraction.


I am interested in what cannot be seen and the absence of meaning.


Everything starts when something breaks, being forgotten or becoming lost - this is when the need to tell a story arises. My endeavor is explorative in nature, where the clay and ceramics constitute my inspiration as well as my language. The changeability of the material, its capacity to be soft, hard, cracked or sticky describes our own existence. The clay is a copycat of other materials, it imitates, but the clay is also a material that, together with plaster moulds, can be transformed into other materials; bronze, glass and plastics, all with similar qualities; an ability to transform from soft and liquid to hard and breakable. Aesthetics and materiality are carrier of meaning and social context and though the ceramic material have been a starting point for me I want to explore other materials and what they can mean and which questions I can ask through them. There is training in the working process, new ideas occur and every piece of work is a preparation for the next step.


I am interested in borderlands, like in a cartoon where Goofy hangs his coat on a abstract sculpture thinking that it is a coat hanger or the soup bowl shaped like a cabbage head: in both cases two worlds are inhabited at once. By creating these borderlands I want to investigate existential and aesthetic arrangements.


In my latest work my sculptures have turned from being silent and still to movement and sound. Earlier I have been investigating the absence of meaning but in my latest body of work I started to give my sculptures an actual function, I discovered that the sculptures demanded a new and another kind of attention. Function is a measure of time and change. When the cup is emptied, when the candle is burned down and the wheel stops in its track we lose control of measuring time. Like the still life a work of art is an attempt to preserve that state. Function is equal to control but that control becomes absurd when the function is meaningless. Movement without control is chaos.