My visual work is not so much about the registration of 'the moment', as is often quoted in photography, but rather about capturing images of the timelessness or 'stillness' of objects or nature and their context.

There is a vague line between what we see and the world 'behind' the images. The images form a decor and show a genuineness that is rather unreliable. The imagination of the viewer complements the shadow image of reality, the reflection of what has been.

The tactile nature of the different materials and surfaces is a meaningful part in the work, in which each object has its specific "skin" that determines the image's sensuality.

In my work there is a relationship with ancient old Asian art, in which lines, shadows, and depth play an important role. With the velvety deep blacks and subtle transitions in the grey areas there are also references to the old technique of heliogravure as well as the subtle use of colour found in a daguerreotype. The imperfection and the 'noise’ of the image contributes to an atmosphere in which dream, recollection and reality seem to run together.

 The photos are edited in under- and overexposure, with veils sometimes supplemented with a vague touch of color. This is a conscious choice that makes the subjects in the image stand on 'the same level'. It also increases the degree of abstraction that I find necessary to the essence of the image and the invisible behind it. The imagination of the viewer is therefore strongly addressed.

 The mixed media images are an assembly-collage of drawings in graphite and ballpoint pen, graphics, pictures, TV images and movie stills. The process is a repeat and overlap of images in different techniques. These techniques are both traditional and digital.

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