My expression takes its form in figurative oil painting - and the sources of inspiration are widely different. The renaissance portraiture, mid-century fabrics and modern technology can all be sampled and found within my work. I like when things contradict each other, mixed time aspects and a highly contrasted visuality. I am driven by putting together parts that don't belong together. Turning them into entities that create their own time and space. By referencing both art history and contemporary image culture I search for what combines these fragments but also what pulls them apart.
Apart from the aspect of time, there's one part that I find particularly interesting: the changes and similarities of image manipulation. A painter in the 15th century working on a commissioned portrait would enhance and change features of the people depicted to make them more beautiful according to the ideal of beauty at the time. Fast forward to modern day and it’s almost exactly the same thing that is happening with images also in the current visual cultures. The difference being that now we are using Photoshop and Instagram filters as our tools of manipulation and the ideal human being doesn't look exactly the same way as they did back then. In that sense, observing art historical portraits can serve as a record of the ever changing beauty standards and how they are, and were, depicted.
For me, it is important as an artist to reflect on the contemporary society we live in but at the same time be able to look back to compare and criticize. Personally, I do this by examining the relationship between modern technology, the rapid image flow and how man relates to it.
Time is in some ways the essence of what I do both when it comes to subject matter but also material of choice. For me, nothing in my work is a coincidence; I connect the different parts carefully and methodically; an equal amount of time goes into every single detail of the whole. I dive deep into every centimeter and give every crease in a fabric attention. Really dissecting the image but also deciding when to leave what’s “accurate”. In the end it all comes down to time; Time spent preparing. Time spent creating. Time as a subject. Time vs. Time. A 70’s jumpsuit on a renaissance pose with modern day Photoshop glitching makes the aspect of time contradictory. The past and the present melted together.
My images are about being images. Or maybe more accurately; My paintings are about being paintings. Always basing my work on photographs I use the deconstruction of an image to explore the transformation from a digital snapshot to a time consuming oil painting on canvas. What happens along the way of moving information from one medium to another? Sometimes when I paint I see it as though I am activating spaces of a photograph that previously were passive. The information was there already but by observing it, acknowledging it and spending time painting it, to me, makes it into something active.
I've been looking to create a contrast. A juxtaposition. The absurdity of spending time on something that is supposed to be a millisecond of mechanical error. Making the unwanted something that I want. Giving the malfunction a function. Giving a meaning to the error. I'm searching for that instant moment of time in the virtual world to become something lasting and to create movement in stillness. By spending hours, days, weeks and sometimes even months on these depictions of computer irregularities, I strive to capture the beauty in the failure.