The Lemniscate is the mathematical symbol for infinity. The human mind can’t fully grasp this concept, and it seems to reside within the register of the Imaginary. In the symbolic order—where we operate—it always functions approximately in a manner similar to the concept of utopia.

When I was growing up, the symbol was used as a logo for the grocery chain Konsum (now Coop). It was one of many collectively owned corporations. Even if a few still exist today, they were created as part of the workers’ movement that dominated politics in Scandinavia at that time. Today, their ideological foundation is less evident as they entirely operate within the logic of the market.

The dried roses in the work remind us of social democracy’s lost promise. Equal economic distribution is no longer part of its political program as it was during my childhood—or perhaps it never really was. Like social liberalism, it barely attempts to mitigate the damages of capitalism while ensuring its survival against the threat of the workers united.

Still, I miss how I felt growing up. Safe to pursue any dream—even an artistic one—without worrying too much about the economic consequences. Today, becoming an artist is a choice primarily for the wealthy.

See a video presentation of the work here, and a production video here.

Pace is a series of works consisting of two slowly paced tracks in wet filler. The process is repeated 99 times, reminiscent of the 99% of the Occupy movement, which refers to the vast majority without capital from ownership, sometimes defined as the proletariat or the working class. The fight against oppression can be waged with major decisive blows, as well as through many small but repeated steps. The latter is expressed through the tedious work of creating a path where there is none by walking it over and over again.

The series features works with an appendix placed on top of the work or close to it. This object is exterior to the image plane, the illusionary "window" in the picture, but is still an intrinsic part of the whole. It connects or makes visible the two dimensions of an artwork - its inner logic and its relation to its surrounding.
The title references the famous Coca-Cola campaign and Immanuel Kant's notion of the thing in itself. It means that subjects can only experience the phenomena as they present themselves through perception. It is always fundamentally different from what the things are outside language boundaries - in themselves.

The works in the Platform compilation are created through a performative event that leaves bodily imprints in wet filler inside the panels, when placed on the ground. These imprints can be made by me or others. The event can be understood as a work of art in itself, thus challenging the boundary between documentation and art.

Res Ipsa is a compilation of works made by an act shaping the filler once it is prepared inside the frame. The works thus function as a recording device and give a statement of the event taking place while the filler was still wet.

Res Ipsa is Latin for "the thing itself" and is part of the juridical term "Res ipsa loquitur" (the thing speaks for itself), used when an injury or accident in itself clearly shows who is responsible, such as an instrument left inside a body after surgery.