The works are made by creating wood forms and painting images on paper, then mounting the images and paper patterns onto the surface. The shapes form angles and curves that sometimes generate the meaning of the piece. On some works, the image is already in mind, and the wood form is made for its purpose.

I am fascinated of a form that is described as docufiction—fiction in the form of a documentary—and something that can mess with your head.

The starting point for this series was two huge industry halls at an abandoned shipyard, situated in Fredrikstad (FMV).

The images creates some sort of a “hyper realism” – a realism that at all times is anchored through documentation, but that at the same time creates a fictive zone that makes possible retrospective as well as sideways views onto the real world. I’ve worked associatively and let the rooms tell me what shall happen to them.

Today these halls have been thorn down. In that perspective “Beddingwood” becomes just a quiet contemplation over something that is gone forever.

The texture of the scupture belongs to a very worn out camping matress which was cast into jesmonite on a sloping and bumpy ground.