Explores personal artistic work, with a focus on layered, multimedia approaches that reflect themes of mediation, environment, and perception.

My studio practice functions as a site of curatorial research that investigates human-environment interactions and multiscale systems of mediation. I work across various media—painting, video, installation, and collage—to explore how materials and mediated forms can shape perception and interaction between humans and their surroundings.

In earlier works, I focused on layering textures and visual depth through collage and mixed media. Over time, this evolved to include projections and installations, where light, shadow, and movement interact with physical surfaces, reflecting my ongoing inquiry into how mediated experiences influence human perception. These explorations position my studio practice as a method of curating exchanges between materials, humans, and spaces.

An example of this is Driven Pheasant, where a YouTube video of a pheasant hunt is projected onto the mixed media painting Pheasant Killed by Text. This combination of real feathers, translucent plastic, and digital projection creates a layered space where human and non-human interactions unfold, blurring the boundaries between media, observer, and environment.

Similarly, in Environmental Performance: Waiting for the Bunny, I investigate the agency of non-human performers—like ants, clouds, and wind—within mediated spaces. This video, recorded in Dueodde, Bornholm, in 2021, examines how environmental actors become part of performative assemblages, expanding the concept of performance beyond the human.

In my paintings, unconventional materials such as nail polish and coarse plastic further explore how mediation and materiality shape our understanding of the world. For instance, in 21, a face is partially obscured by layers of mixed media, representing how identity is mediated through sensory layers and textures.

My studio practice is both an artistic and curatorial inquiry into how layered materials, mediated forms, and sensory experiences act as systems of communication. Through these works, I experiment with new ways to curate and mediate the interactions between humans, environments, and materials, inviting viewers to engage in processes of seeing, perceiving, and understanding across scales.