My practice evolved from, and circulates around, the diary like space that a digital ‘camera roll’ can be. Through photos, videos, self portraits, drawings and captions I think and find interests and conversation partners that lead to bodies of work. The above mentioned phenomena move cyclically in my practice and evolve to manuscripts, images, characters, sculptures, installations, actions and interaction in durational and still performance.
In my view, affect in performance travels in two directions; towards the audience and towards the performer. The affect binds a conversation between the two, carrying the potential of generating new conclusions, and of ridding viewer and performer from ‘normality’ and normativity as common dictionary. In other words; by mastering a normative visual language - including expressions such as body language, clothes, text, mimicry, makeup, objects, light or language - I find that readings of the same can be broken and replaced with something new. I want to explore this new, make it up and have it shown to me by the works themselves.
I draw inspiration from everything from popular culture, literary fiction, commercial imagery, everyday social interaction and emotions to work places and hierarchical relationships, as well as photography and text circulating in the private and public online. I spend copious amounts of time mimicking expressions of desirability, coolness, sexuality, intellectuality and contemporary being, as well as on finding texts and theories that connect me to the collective. Collective thinking, feeling and being is also a topic I explore through interactive performances.
By mixing fast and slow media, I want to find a connection with art as impulse and as an embedded part of social exchange, as well as art as laborious bodies of work, demanding texts and challenging cultural expression.