"Everything around us bears the marks of time. In my installations, I explore how these marks belong to a language of materials and gestures, that speak to the way time leaves its fleeting traces on our lives. 

I long to catch the moment, when clay takes shape, moulded by my hands, determined to become a conserved momentum. As if existing inside a newtons cradle, swaying back and forth through time and space. There is no beginning and there is no end, there is just the momentum, the act of the hands, as they attempt to create an environment where the ticking of the clock becomes trivial and there is no distinction between to- or yester- day. 

Becoming aware of the time span of objects around me is a reoccurring element in my work. We all take part in an everlasting repetitive routine that lingers on at its own pace, yet one I cannot keep up with as it seems to be always one step ahead. Through my work I try to set still an action in time, and enable myself to catch up, even though the moment I confirm the existence of a happening it seems to have already dispersed. 

As if I were trying to grasp the ungraspable, my sculptures are literally print offs of my working process, a process that only exists due to the execution of it. I knead the clay and pour it into unalterable shapes, leaving my prints as marks behind, as if without this evidence they do not really exist. 

Picture a dustball tumbling across an empty desert, or an empty plastic bag which disappears into thin air, grabbed by the arms of a squall. Think of the simmering Fata Morgana lurking at you in the distance. These displays are examples of simple events, a decor where an object moves with minimal motion across the frame. Simple gestures are pushed into materials, giving you just enough recognition to create familiar sites. 

As if in dialogue with a pen pal, my works often arise after having written or having received a letter regarding my thoughts. Making use of narrative in a suggestive way, my work pushes you in a certain direction and encourages you to get into the mind of someone else, somewhere else. Storytelling with mixed up chapters and torn out pages gives you little bits of information, yet just not enough to put all the pieces into place."

 

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