The essay a small papper book, deals from a personel angle with different aspekts of the artist practice. Up against a suppelogik the essay jumps from subjekt to subject. The first chapter talks about the link between making a snowball and the painting process. Next chapters are working up against the paintingdialogue with the canvas, here are some historical referangser to Guston and Hans Hoffmann. After this the essay have to chapters, one about the potential of humor and one chapter about artistic seduction linked to the artistic production trying to find the border, between the necessary and seduction. 

A complementary text to the masters project SET/SÄTT that includes an exhibition and an image-based essay in the format of a bound artist book. 

The physical essay is made up of several risograph printed pages depicting images of the components that that compose SET/SÄTT. The pages are bound together so that it folds out in the fashion of a map or a gift card. Although, the book folds out into a myriad of interconnecting folds that takes some time and careful planning to expose. Every edition of the physical essay is unique. 

In my essay I am looking at the common heritage of written signs and images through my own experience of attention deficiency and mental illness. Through this lens of experience in which words and images are vividly transformed and merged, I am reflecting on language and art and their overlapping.

Throughout the text I reference early written entirely pictorial languages, the painterly terms of thought disorders, as well as how the images that gave name to the characters in the phonetic alphabet is still lurking in the very letters themselves. I also exemplify how attention deficiency can evoke new image/text hybrids in a chapter I call ADHD poetry.

In my own artistic practice I am drawn towards a melting point of language, written sign, image, high and low, illusion-representation-materiality, intellect and intuition. The surface as a physical object and idea – that there is a two-dimensional space where we project fantasies and fiction.

Through prose, play, rhythm, rant, word salad, crumble of meaning etc. sandwiched, I am observing the swelling of words.

Catalouge of the Bachelor of fine arts and the Master of Fine arts graduate exhibition.

"I dream that you batter away at me until my joints come apart like wax, and I fall into pieces" delves into the intertwined realms of homosexuality, martyrdom, and mortality. Through a lens that spans from historical figures like Saint Sebastian to gay painters during the HIV epidemic like Patrick Angus and Hugh Steers, the essay navigates the complexities of desire, shame, and societal perception. It traces the trajectory of homoeroticism in art, from Renaissance paintings to modern sculptures, illuminating the enduring struggle for visibility and acceptance faced by the LGBTQ+ community. The narrative weaves personal introspection with an analysis of cultural iconography, culminating in a reinterpretation of Saint Sebastian as a symbol of queer resilience and defiance. In its exploration of mortality and extinction, the essay unveils the interconnectedness of individual identity with broader societal narratives, inviting readers to contemplate the delicate interplay between desire and societal constraints.

Five letters in a row: E, L, I, N, A. The E has several more horizontal strokes than the E Iwill later learn in school, the N is reversed, and the A is upside down. It doesn’t matter. Ican read it, and others can, too. Once I learned how to write my name, I couldn’t stop. Iwrote it everywhere—on my toys and on my bed frame, on the walls, the doors, theledges. There is something visceral about leaving marks and traces of oneself on differentmaterials and surfaces. Pencil on raw wood, pen on paint, and waxy crayon on plastic.Speaking and writing are part of a collective knowledge that is based on complexstructures and technologies. Walls and screens are flat surfaces that we use fororientation and as sources of information. We navigate. Slowly we are shaped. I’mtouching, tracing, and marking. Leaving something of myself behind. A record. Anencounter and exchange between my hand, the tool, and the surface. The surface isforever marked, forever destroyed, forever scarred. ELINA.In this master essay, Elina Birkehag collects her notes and reflections during her years ofmaster studies at the Royal Institute of Art in Stockholm. The essay consists of two parts.The first is written in her studio during her final year of studies, the months before her soloexhibition MOUTH TO WALL at the end of 2022. The second part is a collection of notesfrom the forests and wetlands of Dalarna, as she has been looking for tree carvings leftthere by women tending cattle a few hundred years ago.

The Longest Journey is an experimental Master essay which consists of 27 images with accompanying texts. Part of the images are digital photographs and part of them are images created through a special process involving different software tools – mainly Adobe Photoshop and Google Earth. The texts comment on how the images themselves were created and how one might understand what they are and how they function as aesthetic objects and as potential catalysts for thought.

In this text I retell the story of a close friend of mine that went missing a few years ago. I also dive into world geographies and how they interconnect unexpectedly, for example through water. 

In the Hindu scripture Shatapatha Brahmana, written between the 6th and 8th centuries BCE, one encounter scientific knowledge of geometry, observational astronomy, and many tales, where time is told in a cyclical, nonlinear way. The book recounts how the sweat dripping down the god Shiva’s head is the water of Ganges River, where the ashes of generations of deceased people travel along the currents like a miniature collection of the past. I depart from a lens-based practice to explore remains of traces of stories, contrasts between inherited cultures and gay love. 

Through the migratory movement from India to Norway made by my father in the 80’s, the same period as the fathers of my Norwegian cousin’s migrated from, Algeria, Morocco, and Argentina. I came to know about the importance of the permanence as some of them stayed and influenced our cultural microcosmos of diaspora perspective. While some of them departed back again to their birth countries leaving mythical-like aura behind. From the get-go our shared upbringing in the Scandinavian landscape made us witness the ever-shifting kaleidoscope of our human existence and filling a gap between having two cultures. And a question to the difference between being of or having a minority background. 

The artistic expression can be intricately intertwined with the nuanced language of gestures, transcending linguistic and cultural motifs. Through a local Indian newspaper shipped to my hometown in Norway ever since I was a child, arised a playful game of trying to understand and learn these symbols and cultural motifs.

This essay belongs to a set of materials published in reference to the transformative developments occurring in the realm of writing and speaking today, as triggered by digital communication. These shifts are part of a cultural process, shaped by structural multilingualism, which is impacting many parts of the globe. Fog Friend Font, the editorial framework for these collected and commissioned materials, was initiated by Hinrich Sachs and Fredrik Ehlin, and published by Humboldt Books, Milan.

This essay will go through a series of different thoughts and positions. With stories and reflections take hold of a non-linear artistic practice. I take on different nooks and crannies of my practice and interests, explore them and give a picture of what a job can look like. A kind of textual strolling I could call it. I am allowed to slip between, constantly discovering more. I am allowed to disappear into. The language in the essay is tentative. It deviates and takes detours of its own accord between the frameworks set up by writing an essay. Just like when I move through a city. I move between the framework and rules of the essay to find something where I can be.I probe with my body. By that I mean that during a walk an installation can be built, with the hand in the pocket feeling how a material affects the body and makes the hand act and understand how encounters between objects feel. I run my hand over material, stop, lose focus, stamp my foot, listen. My eyes are wide-eyed. I try to see everything at the same time, because in the corner of my eye there is perhaps something I have never encountered before, something that shakes me. My practice, experience and knowledge are in the body. With the exhibition Hidden in plain sight at Galleri Mejan, I managed to concretize many of the essay's musings and thoughts. In the gallery room we were greeted by a ramp to a plateau and a standing Plexiglas work with engraved drawings. Visitors had to step onto the plateau, the platform, to enter the room. You immediately became aware of your body's relationship to the room. The room was divided into different places due to three larger platforms that moved in the room and then the spaces in between, a labyrinth-like movement that was the original floor. It became like an irregular urban space with streets and alleys. All around the exhibition room stood and leaned long lines of concrete. As a visitor, you had to constantly relate to the sculptures, you almost interrupted an interaction between the sculptures. They looked at them while they looked at each other. With the title, Hidden in plain sight, I played with the idea of ​​secret languages ​​such as hanky codes and cruising body language, but also power structures that present themselves as self-evident in public. A thought about being so visible and obvious that you blend into the background. Which is connected to the use of concrete as a material for the sculptures.

Jag började reflektera djupare kring stenens existens när jag lade märke till stenmuren runt Långholmens fängelse. Ett fängelse, som nu mera är ett hotell, restaurang och museum, där jag tillsammans med Nicole Newsha Khadivi och Mattias Andersson organiserade utställningen Panoptikon (2021). Muren är byggd av fångar som suttit i fängelset, som en typ av straffarbete. Stenarna bröt de tio minuter bort från fängelset – i stenbrottet vid Västerbron. I mitt verk I was here ville jag använda sten från samma stenbrott, men denna gång skapa ett minnesmonument och istället för en mur skapa ett fönster där det gick att se mellan stenarna. Stenarna kapade jag i mitten och graverade in anteckningar och klotter som fångarna hade skrivit i sina celler. Klottret hittade jag till viss del på Långholmens fängelsemuseum, men jag använde även fotografier från Stockholms stadsarkiv som underlag. Dessa texter graverade jag in spegelvänt på ena delen av stenarna och på den andra sidan graverade jag in de så att dem var läsbara. Stenarna med den spegelvända texten placerade jag tillbaka i stenbrottet och de läsbara installerade jag i en plexiglasskiva i den före detta rastgården som är en del utav ett panoptikon på Långholmens fängelse.

This essay summarizes my artistry and approach as it has evolved during my five years at the Royal Institute of Art in Stockholm. My artistry is multidisciplinary where I find inspiration in art, technology, science, and society. My artistic process often relates to a full concept, where I explore and tell multi-layered stories. I study and engage with scientific theories and engage with them in a playful and experimental non-scientific way. These stories are expressed in my work that are physical and digital created from my intent and from physical phenomena that the eye cannot always see. 

I firstly describe how I have created paintings by using technology generated frequencies and how I have put them on canvas. “Painting with technology frequencies and vibrations” uses a technology-oriented approach in making paintings inspired from the Chladni plate method. The conclusion is that it was possible to capture frequencies on canvas. 

Secondly, I describe how I have made paintings, and associated pieces, that relate to frequencies and disturbances in human characteristics. For the concept “Painting with emotional frequencies and vibrations” I brought in phenomena from quantum physics and specifically the observer effect to make the paintings. I focused on morals and ethics and how art possibly can positively affect us human beings. In my mind I also drew parallels to the future mass-surveillance society and how we may be affected by being observed all the time. 

Leif Engström beskriver sitt arbete i dagboksform. 

I feel the need to warn you

This will get personal 

Whether I like it or not, I must tell you

I was born in Miskolc 

The city of heavy industry 

Where you find 161,265 souls

The county capital of Borsod-Abaúj-Zemplén

The fourth largest city of Hungary.

My mother once or twice 

or rather 31 times told me a story 

She had already moved up to Budapest 

Met my biological father and had gotten pregnant

I keep the other part out of this story

the part about her education in architecture 

– We don’t have the time for that 

Even-tho it is tempting to tell

It has some funny turns as well 

Just like the story about my birth

I don’t know why

But my mother likes to talk about herself

But this time it’s getting too far

She doesn’t know but it bothers me

I don’t want to hear this particular story 

Abstract 1:

Master Thesis - Investigating the relationship between the aesthetics of Black Metal and its ecological and nihilistic implications with contemporary painting, comics and Chaos Magick spiritual practice.

Abstract 2:

Documentation of solo exhibition titled Zurbaráns' Dream. The works take as a starting point the paintings of Saint Francis by Francisco De Zurbarán. The depictions of Saint Francis within Catholic mythology in the 16th/17th century used symbolic postures and objects to create paintings that were instructional for spiritual transcendence. My paintings are developed from an esoteric fiction manipulated by the process of lucid dreaming. They are inspired by Zurbaráns' 'dream' of using art and iconography as tools for spiritual transcendence.

Att vara konstnär är skrämmande.  Att intensivt jobba med ett konstnärligt arbete innebär att gå in i något till den grad att det bränner. När man går till djupet med en arbetsprocess satsar man allt och man kan göra upptäckter som man inte var beredd på. Att vara konstnär är att våga närma sig sin egen omedvetenhet.  För att göra det krävs mod.

Mellan den tjugotredje mars 2011 och trettioförsta augusti 2012 har skrivandet varit ett rum där Clara Gesang-Gottowt ostört reflekterat över sin arbetsprocess och sitt konstnärskap. Genom att låta orden flöda fritt söker hon det som annars redigeras bort innan det klätts i ord. Som för det mesta med en dagbok har skrivandet ofta skett i stunder av känslosvall. Vissa ämnen och frågor har återkommit:

Passivitet som förutsättning för aktivitet; minne och seende – hur ett minne föder ett annat precis som en bild föder nästa; vad som är viljan att berätta och vad det är som etsar sig fast när vi tar del av andras berättande.  Varifrån kommer viljan att fortsätta måla? Vad är det som gör att en målning plötsligt fungerar? finns det en universal omedvetenhet och har den i så fall med naturen att göra?

Essä beskriver en konstnärs situation i början av sin bana. Hennes toppar och dalar, hennes måleri och process i förhållande till andra konstnärers arbete.

CAN YOU PLEASE LOOK AT THIS / VOITKO KATTOO is my master essay. It consists of 6 chapters in which I write about my artistic practise and my work around a series of works titled 52 WEEKS AND WORKS and my examination exhibition SELF-PORTRAITS / FOR FAT GIRLS / PORTRAITS.

Reflektioner om hur jag hittar vägar in i mitt arbete och hur jag tänker kring att exempelvis hitta lust för arbete.

This project investigates themes and systems of power, money, gender and sexuality. The human being and the commodity, the art object, are set against the backdrop of lust, greed, and consumption. According to John Dalberg-Acton, “Power tends to corrupt absolute power corrupts absolutely”” I’m curious in the application of this in contemporary society. To provide a sandbox for this research, I developed a fictitious dark satirical “evil” company and named it “Abezethibou,” a fallen angel and demon portrayed in Solomon’s pseudepigrapha Testament. This demon looked into people’s hearts in order to destroy them from the inside out. The heads of hell tasked them with infiltrating the Egyptian pharaohs’ courts and leading them along the path of evil. I want to put the audience in uncomfortable situations while also suggesting some alternative realities about our world. Not by pointing fingers at them, but creating situations where the audience will have to look at themselves on some level. We are human and we have the potential for good and evil. As Dalberg-Acton implied, power corrupts those who hold it. Those in power are allured by its existence and those who do not have it desire it. Using these tactics, I want to explore the ambiguity of modern life, shaped by digital networks and economics. This resulted in my graduation exhibition and an interactive sculpture that can be accessed by scanning a QR code available in the KKH library. Can also be acesssed online: https://timhoibjerg.com/active-denial-system 

This essay explores the concept of mimicry in relation to representation, documentation, and the exhibition of art. Through an analysis of the works of artists Elaine Sturtevant and Merlin Carpenter, who employ appropriation and repetition in their practices, the essay examines their critical and playful approach to the art world. Both artists challenge notions of originality and authenticity, prompting viewers to question the value and commodification of art. The essay also delves into a growing movement among emerging artists and curators who replicate an alternative art world, creating unconventional spaces that mimic traditional art venues. It discusses the evolving role of artists as curators, blurring the lines between artistic output and curation, resulting in innovative exhibitions that challenge conventional notions. 

I made a model of the world, it is arbitrary, I know. But I couldn’t seem to stop making them.

The image and the real are both present, since being human includes both. One (or I) can tend to be purist and aim to just dwell in one of the realms. I wanted to create a movement in between the two, a vibration, bouncing back and forth.

So for me this work isn’t solely about nature and it’s processes, rather it is about the relationship, we as solid “I:s”, have to the entropy and movement that is necessary for us to exist as material beings. A solidity that is seems hard to unite with the apparent dissolution that awaits us.

It is about wanting to be in control. To make an order that is satisfactory. To conquer clarity.

But the world is a foggy, folded, and dark labyrinth ( for example, what I thought to be just a simple moss branch holds in its biofilm a whole new world of creatures when seen in a microscope)

We and the apples are that which falls. Life begins as we fall of a cliff, and continues towards dissolution – this is Alan watts idea. It is scary to be able to perceive our impermanence. And it is hard not to cling to the stones falling next to us, as if they would grant safety.

Maybe instead the fall can be joyous, and ecstatic.

Rilke talks in his 10e duionelegy about a joy in nature that is descending rather that arising.

And Karin boye, in her poem “yes of course it hurts”, lets the clinging and fearful drops fall into to an ecstatic glitter rain and “feel for a second their greatest safety, rest in that trust that creates the world.”

https://vimeo.com/142533096</p

Every time I am on an elevator or an airplane there is always someone right behind me, or beside me, that is coughing or sneezing. That is implied in the film with the use of, among other sounds, a sneeze, that speaks about the uncontrollable. So there are definitely contradictions with these railings, as they are an idea of a support structure that in practice doesn’t really work. And this recurs in the video work where you’re trying to clean a piece of acrylic glass which, in itself, is an impossible task. As soon as you try to clean it you get marks on it. It’s an unprotected surface as soon as you pull off the plastic film and even if you leave it on when the pane is scratched marks build up under it.

In this essay I reflect on what my artistic practice is about. 

I explore aspects of space through painting and sculpture in my work. The motifs I keep returning to are architectural elements and objects of everyday life, details or places in the home or the urban environment. Regardless of the motif, I am looking for objects that give a sensation of being in interstitial spaces. I am searching for a pause and a certain stillness, but at the same time, I aim for my works to be vibrant and full of life. It is this meeting point of stillness and vibrance that I am looking for.

The essay consists of several parts in which I reflect on my work and work process, starting with the idea of "genius loci", the atmosphere of a place. I thereafter write about the choices I make in scale, color, material and spatial qualities. I also give examples of a few artists that have inspired me and that have been of importance to my practice. Finally I put forth some reflections on the daily work in the studio in a logbook.

Abstract of Master essay - 10 HP

Izabel Lind Färnstrand

Mentor: Emma Kihl

Examinator: Sigrid Sandström

How to Prepare for Death

In this essay I dwell into the failures of our moral senses in relation to the concept of death. How does modern death culture affect our way of life and our ability to take responsibility for the life and death of others? These questions are formed by these current times and affect both my art practice and my everyday life.

When facing death within my family it occur- red to me that my and my family’s relationship to death is failing us. I have become frustra- ted with the fear and silence that seems too natural to my surrounding. Not being able to talk about a part of life that is inevitable seems irrational.

It became clear when the lack of under- standing and acceptance of death caused relatives an immense suffering. The struggle seemed unnessesary and urged me to try to understand more, based on their deaths. Seeing how very different the experience of dying can be made me wonder what makes a ”good” death possible for some and others not. From there my interest in the topic death culture and fear emerged, and this essay touches on this in a variety of aspects.

I use my personal experiences in combina-

tion with thoughts of others to talk of layers of these issues through my artistic practice. This personal method is my way of trying to structure a thinking – in a way that I can use and make sense of it – with a varied level of success.

I feel it is important to note that I don’t claim to have any answes. This essay is more an attempt to pose questions around human behaviour. Even though many of these ques- tions have been asked over and over again, throughout different times, I believe it is impor- tant to ask them again and again. As long as the Human is part and violently effecting this suffering world.

Many of the thoughts in this essay are based on fragments of ideas by Judith Butler, espe- cielly from her book Frames of War: When is Life Grievable? (2009). I also reference Caitlin Doughty’s From Here to Eternity: Traveling the World to Find the Good Death (2017) and and Sogyal Rinpoche The Tibetan Book of Living and Dying (1992). The themes gathered that I try to make use of in this essay and in my artistic practice are purpose, fear, death, health, happiness, narcissim and resposibility.

A text in which 4 objects are described. An octopus, the Ghent Altarpiece, a quilted ball, the Handbook of Diseases of the Skin. And 4 quotations are presented.  Newt Gingrich, Donald Rumsfeld, Robert S Macnamara,  Slobodan Milosevic. Political leaders responsible for wars.  Their descriptions of borders, distinstions, definitions.  

A book (Handbook of the Diseases of the Skin) which is described in the text and is integral to the work is in the library of KKH (the Royal Institute of Art, Stockholm)

I denna text försöker jag beskriva vad jag tänker kring mitt måleri och hur jag använder mig av mina synintryck. I bearbetningen av intrycken upplever jag att det inte finns några barriärer mellan det ena och det andra, så när det fungerar bra är en målning en uppvisare av vad perceptionen håller på med. Den spelar fritt. Den far runt hur den vill. Målningen kan hamna nära min visuella uppmärksamhet.

My essay is an excursion out to a sand quarry where I have done investigative work about the place. I have researched the history of the place, what materials are there, what plants and animals live there and how we humans use the place today and how we affect its design. The essay investigates the choreography of life’s movements and transformations in the physical world, and how the physical space bends according to life, but that life also adapts to the changing space at the same time. The result of the interaction between the different agents is what I've been searching for. And how that same effect happens in my work in the studio. 

Shapes of Sounds is a publication that gathers reflections from and documentation of three sound art projects undertaken at Kungl. Konsthögskolan/Royal Institute of Art, by Ami Kohara, Johanna Mårtensson and Rossana Mercado-Rojas during 2018-2019. 

The publication includes QR-codes that enable access to the sound works and other material via Vimeo.

‘Workout’ is a script that has been written collaboratively by Fathia Mohidin and Jenny Richards. It has developed out of conversations around the productive body, and the connections between working out at the gym and working in the workplace. Their collaborative research takes the form of physical work out sessions during which they read texts, analysing the transformations of work and working out to bring a physical form of research and personal bodily understanding into their discussions.  

‘Workout’ explores the entwinement of health and work and the contradictions this raises around agency, resistance and the reproduction of the productive worker. The script format hopes to reflect on the individualisation encouraged within work and working out, inviting a collective and performative reading with others. The script present differing positions and perspectives including quotes and voices from other writers and scholars. By reading aloud different positions it asks readers to inhabit and consider complicated, ambiguous and multiple perspectives.  

In an age where health and work are evermore entwined, how does one examine what it means to work out? Is it an act of self-care to stay healthy and feel good? Or an act of empowerment? Can working out help us resist capitalistic productive structures? And how is the body working out, performing, healthy, able and resilient, coopted within these very same structures itself? 

This script began out of a shared discussion concerning the work of Fathia Mohidin and the research of Jenny Richards that focuses on an intersectional reading of the productive body and its maintenance. The script tries to create a critical collective dialogue around the cultural, political and economic structures that impact our experience of work and working out. Structures that seek to discipline and marginalised certain bodies and experiences. However, at the same time, the act of working holds potential. It demands us to pay close attention to our bodies, and can develop a resistant practice to exploitative structures. The text shares multiple perspectives on these concerns in order to question what kind of workout can work us out from current structures of work, and how might we do this collectively? 

We encourage you to perform this script, inhabiting the different voices yourself, or by reading with others. 

This master essay aims to contextualize my artistic practice and ask questions regarding the artist's position in relation to her work. The essay should be seen as a meta description of my artistic method which I call gonzo painting, an expression I explain and develop further in the essay. This essay is part visual and part written and should be approached more as a piece of art than a piece of academic writing. Pictures sourced from social media are used as a sort of diary and are accompanied by written thoughts. The essay was written during the six months leading up to my graduation show. 

I have in my embrace of clear denominators, and in vertiginous hesitancy toward general image production conceptualized my practice as a sculptural repertoire of appropriated and replicated objects, that in some capacity facilitate and constitute man’s relationship to animals in an attempt to articulate the materiality of our anthrozoological present, all the while developing an understanding of the agential potential of the sculptural object. The essay Slow Feeder aims to describe and develop my art practice, as summaries above, in three chapters. 

HOUSEBROKEN Sheep, Childhood & Animation opens the essay with an autobiographical anecdote, and it's sequent implications in my first solo show as a BFA-student.

BOREDOM BREAKERS Zoostuff - its kinship and jest gives an in depth introduction to the practice of environmental enrichment, and how it influenced the sculptural project that became my bachelor degree show, and how it, in turn, grew to form the basis of my artistic practice.

SLOW FEEDER - Bowls to Bowels and Mazed Movement goes on to summarize the works in my MFA degree show, their physical properties, behaviorist references and art historical influences. Lastly, the essay ends with some speculations info the future of my sculptural works and potential ventures into a more performative realm.    

The text is a complimentary text for the artist book “SET/SÄTT” that was used as an exhibition guide in the master show “SET/SÄTT”. The text consists of three parts, “Thinking of words”, “The essay” and “The sculpture”.

24 chapters - frames to a second/ hours to a day. This essay is an enquiry about my artist partice, reflections and thoughts around and connected to it. 

Using the studio as a way of talking about my artistic practice, what is visible and invisible.

Självbiografisk arbete, betraktelse och berättelse  från Riddarhyttan i Bergslagen. En liten by i skogen inklämd mellan två sedan länge nedlagda gruvor där mina släktingar, från morfar/farfar och bakåt, arbetat med att bryta främst järnmalm. 1984, året jag föddes, så hade det gått 5 respektive 17 år sedan gruvan i Bäcka och gruvan i Källfallet, belägna på varsin ände av Riddarhyttan, lades ned.

In this essay my aim is to understand the machinations of the action of taking a photograph and putting it in circulation, and what the role of a sculpture becomes in a world where this is possible.

In a general sense, how does instant representation through photography activate sculpture? Can sculpture change photography, or is the connection a one-way feed? Can it be that this connection determines our lives to such an extent that the success of one medium informs the strength of the other?

Noise turns into form in the intertwining the and dissolving of shapes and lines. In the paintings, the idea of what is seen is interrupted by the noise. I look for camouflage in paintings. In the space between the brushstrokes, where rhe colors merge and vibrateag ainst each other. In this noise, a sonorous embodiment begins to reveal itself, a constructed nature that strives for beauty by taming the landscape. The fulfillment of our desires leads us to a streilized park, a pleasant place in the search for the arranged. I try to depict what has already been made beautiful, with, the aim of capturing more than just what is visible on the surface. The aspiration toward nature is reformulated as a dystopian ambition grasping for the beautiful in the veil of the unreal.

This essay is a description of my artistic work process. The essay gives examples of how the work occurs in the boundary between places such as the studio and the wood workshop. In the essay you can follow four different passages that are followed by strophes that have arisen during the work. With the help of Hannah Arendt's 'The human condition: vita activa', I describe the conditions and prerequisites of creation in my work. Through the artists Daniel Buren, Constantin Brâncuși, Gordon Matta-Clark, I discuss how the separation and transformation of materials creates form with a loss. The essay describes a working process that consists of finding form for the absent in the present.  

THE QUESTION OF THE RIGHT TO THE IMAGE

A book edited by The Abounaddara Collective with Katarina Nitsch, supported by the Swedish Institute.

Since the birth of photography, individuals have defended their image in the name of property rights or the right to privacy. But these rights don’t protect the world’s most vulnerable citizens whose indignity is exhibited on the screens of the world in the name of the freedom of media. How can we conceive of a more just right to the image, based on the equality in dignity of all the citizens of the world?