General statement
Regarding my artistic work, my major interests are in societal topics, for example in issues relating to violence and masculinity. Similarly to ˇi˛ek, I understand violence via its broad definition: violence can be seen as subjective and objective, and it can take both symbolic and systemic forms. Connected to this, my comprehension on masculinity is also layered: masculinity can be seen as culturally coded and performed and renewed in commonplace practices.
In relation to theory of photography, much of my work falls into practise that can be categorized as documentary. However, in my use documentary does not only refer to classical documentaries that are based on simple ideas on 'authenticity' or 'indexicality', such as photojournalistic or news photography, my work rather activates critical practises within documentary discourse. Along this line of thought, as a form of expression, documentary is not only a constructed argument, it also alludes to concepts such as verisimilitude and dramatized or narrated real. I also tend to use documentary as a generic definition, seeing it as a practise that guides reception and meaning making.
In relations to this, I understand photographic art as an engaged medium that invites all participants into a societal discussions, and to aesthetic and ethical interplay. For me, photographic art is a medium that has unique and extrodinary possibilities in taking part to the critical discussions in contemporary society, by evoking conversation and debate and by cultivating emotional life and diversity in thought.
On the left, you find links to projects that has been exhibited and that are more or less concluded. However, not all the series are presented in their full strenght, as I am actually still working with few of them, still adding pictures to the series. For thorough presentation of the works, please consult me.