What concerns me is the relationship between the subject and the object, my sculptures sits in a border area between the two and contains both. Characteristic for the works is their nonfigurative presence combined with their anthropomorphic quality. Anthropomorphism is the attribution of uniquely human characteristics to non-human creatures, natural and not natural phenomena, material states and objects or abstract concepts. The human related aspect, which I add to the objects is not evident in the form, but in the surface or within the objects. I prescribe the objects, human conditions or values, such as, inter alia, an inside and outside, skin, hair, jewelry and other forms of sensuous materials, thus a proliferation of bodily references. These references are created in the desire to relate to human existence in the physical world, and the experience of being in a physical body, which is unpredictable and imperfect.

The skin is our tactile sense, which is a recurring theme in my practice, it is a living material, the membrane or surface between the outside world and us. It is the largest organ we have, and it is our sense of touch. The skin keeps dirt and debris out, and flesh, blood and organs in place. It tells us of heat or cold, of well-being or the opposite. There is a shift when I'm holding an object with images of skin and thereby causes the object the human sense of touch. 

In my practice dualism and contrasts are key, and the focal point is the body, the object, the surface and the sensual. I am interested in a kind of ambiguity - that something can be attractive and repulsive simultaneously, organic and artificial or beautiful and repulsive. The sculptural hybrids that dominate my practice right now, expresses precisely this duality, with works hovering between the artificial and the organic, the recognizable and the abstract and between the 2- and 3-dimensional. 

 

 

Curriculum Vitae

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