“10kr of Tension” 2022
A teaser for "10kr of Tension" 2022, which is a kinetic diorama performance where you exchange 10kr for 1.15mins of tension.
krɒk.ə.daɪl, cr-ko-dial, cro-co-dile 2022
a performance at the Galeri 54 festival, a vignette of my life where as a dyslexic child I was repeatedly re-taught phonics. The performance looks (with a surreal twist) at a complicated power dynamic where two people are trying to do the right thing, whilst slowly becoming crocodiles.
1, “Footage from the Department of Erasure”, “Manipulations”2020, ICIA.
The virtual environment created by Bruce Asbestos
2, In the virtual gallery at “Manipulations” 2020
3, E.A.T. spatial timelapse at the ICIA Exhibition, “Manipulations” 2020
https://www.eatspatial.hub.earth/
“Data Uncertainty 2053” 2019
This work looks back at the data uncertainty crisis of 2053, that led to everyone’s bank accounts being frozen and no reliable forms of digital ID being accepted as valid. The work investigates the archive's collection of interviews, that discuss what led up to the crisis and the effects it had on society. This art work is asking the question in what way power and bureaucracy affects how we live our lives, and if we live within technologically governed social systems that can fail us in dramatic way.
“Twist, Delude, Dissemble and Flimflam (The Trickstar’s Guide.)” 2018,
ThIs is one of 3 video works. A single female figure gives instructions directly to the audience and creates an uncomfortable expectation for them to perform tasks with unknown/unseen objects off-screen. The tasks requested of the viewer gradually become more ludicrous and impossible.
“The wrong way round” 2017
Testing out how to have a new relationship with a chair. Experimenting with the idea of everything being turned upside down.
“Mind Your Step!” 2017
A performative installation where the audience were asked for stories of pain through a process of bureaucracy. These stories lead to them receiving a drink, where the quality of the drink was related to the perceived quality of their pain story. During this process the space was filled with various cacophonous sounds of bells chiming. Both performers acted out stiff bureaucratic roles of assessment and distribution.
This performance encouraged the audience to actively gossip and find ways to get better drinks, to bypass the system, as well as questioning its hierarchy. This was to highlight the potentially unfair exchange when we have to talk about our pain and emotions to receive state support.
Photographer Peter Rosvik
“This Museum is a Boat” 2017
This artwork was a light installation as part of the MELLANKOMST exhibition inside the Sjöfartsmuseet, Göteborg. The installation employed a slow pulsing light, like a wave advancing and retreating. These lights were pointed at paintings of ships in storms, reminiscent of the role of a lighthouse, and simultaneously drawing attention to the ‘directed eye’ of the institution.
“Primary Labyrinth” 2014
This work was projected vertically onto the ground, installed in a pitch-black room in an exhibition at Primary Gallery, Nottingham. Visitors to the work were encouraged to go into the immersive experience, to put headphones, and to follow the projected light in the cave-like environment. As the viewers followed it they would become aware that they were following the path of a labyrinth and the sound would change in volume depending on where they where in the labyrinth, making it slowly clearer that the sound was emanating from the centre.
“Chop Wood, Carry Water” 2014
This two-screen video was a response to an artist residency called the Wild Project, which took place in the rural Czech Republic. I explored a Buddhist saying "Chop Wood Carry Water" and our relation to survival acts. I explored this by trying to learn how to chop wood, and locate my nearest natural source of drinking water. This results in a video that observes clumsy arduous attempts at survival.