I work with spaces and bodies, and I am fascinated by the concept of the uncanny (unheimlich) in relation to rooms and spaces.
The relationship between the body and space is paramount for the works I do. I am working mostly with the notion of rooms as bodies and the history (or life) and architecture of the room or building. I like to direct our attention back to the room itself – something that normally isn’t paid attention to as much as what is in the room. Buildings act as bodies, not only in the architectural understanding, but also as a volume or a living entity that has a history. Rooms act like symbols of mental states just as our bodies reflect our mental states. I aim to merge these thoughts in my pieces. My art should deliver a visceral feeling in the audience when they enter.
My pieces always have a relation or starting point in the banal – it always starts from a reaction to everyday life. My piece 'Carapace' (2025) for example came from an intense wish for thicker skin, so I made it. And I wore it.
I am fascinated with horror and the way the genre can digest hard topics. 'The Shining' (1980) deals with alcoholism and domestic abuse, 'Jennifers Body' (2009) deals with rape, 'Videodrome' (1983) deals with emerging technology and 'The Substance' (2024) deals with body image and aging in a world that prioritizes beauty (in women). Sometimes it is more subtle, like in 'Alien' (1979) where the female anatomy is used to terrify the audience. According to research from Recreational Fear Lab in University of Århus we engage with the horror genre to learn how to deal with such hard topics and emotions by experiencing them in controlled environments. Almost like playing as a kid. The language and methods of horror movies is something I use in my own pieces as well, when I am reacting to the world.