2016
2015
Artifacts is a wifi-based artwork, a collection of specimens which blur the lines between geological sample and digital anomaly. Dead pixels, moiré patterns, distortion, and other digital aberrations reveal incongruencies between data and the material substrate of digital representation. Exploring the gap between digital objects and their display via apparatus renders visible anomalies and glitches, particles and bits in the textures of electronic artifacts. Closely examining parallels between the basic units of digital images and those of matter, cubic pixels and digital...
2014-2016
The cloud is a spectre, hauntingly present yet intangible. It knows you intimately: your memories, work, shopping habits, medical records, bank account details. It knows your likes, your friends, where you are and where you've been, the pace of the strides you took along the way. Though this friendly ghost is at hand wherever and wherever, it is also strangely absent, dispersed between servers, neither here nor there and everywhere. Wireless devices enable a seemingly ubiquitous yet limited view of the vaporous leviathan. Analysing the materials of the gadgetry used to tap in...
2014
Colony 02 is virtual organism whose behaviour and symbiosis with it's nearby environment is not yet well understood. The rare organism Colony 02 is found on white surfaces and is identified by it's geometric cell-like skeletal structure surrounded by a characteristic black outline. To observe it's behaviour, one must look through a special instrument that reveals it's body to the human eye.
2016
The Fly Printer – Extended investigates the increasing interest of the artist in the merger of a human, a non-human, and an artificial entity.
The work is developed based on the previous versions of the Fly Printer. It contains biological organisms -fruit flies- that are treated in the work as image producing technology, but additionally it includes intelligent system with camera and convolutional neuronal network (CNN) for image recognition and interpretation. In other words, this artwork creates an autonomous system that firstly produces images; secondly, a machine vision...
2016
We are continually striving to be objective, we try to look from a distance, and we develop all kinds of technology to accomplish that, which is of course very interesting, but in a way this objectivity is something we know we will never really achieve, it’s a bit of an illusion. – Lawrence Malstaf
Folding is a research project which employs new technology, such as 3D scanning and modeling software in combination with traditional origami techniques, in order to explore the boundary between representation and abstraction. The aim is to build up a collection of life-size...
2016
GET THIN – GO FAST
We humans spend a lot of our energies and creativity to devise new solutions such as biofuels. In this process it is easy to forget the invaluable resource that we can represent, it is time to direct the focus at ourselves.
HUMANFUEL is presented as a response to the hunt for alternatives to fossil fuel and posits an obligation to embrace a larger perspective to the Anthropocene – to include the human form in the biological chain of recycling – through the proposal of using human fat to fuel vehicles.
The quest of vanity might flip the perspectives...
2016
The installation consists of a looped video projection and five neon signs. The film is set in a region that has been subject to exploitation of natural resources since the early 1600s–the Arctic archipelago, and former no-man’s land, of Svalbard. The neon signs evoke symbols used for controlling weather indoors; heating, cooling, humidification, air circulation and purification; addressing the homogenized air conditioned indoor spaces many of us inhabit.
The first snapshots taken from space showed the earth as a cloud covered planet, with clouds enveloping about two thirds...
2014-2016
Reflecting on the adverse impact of mining materials as well as data, Mining the Arbitrary aims at extracting senseless numerical data from materials. In light of the anthropocene, even substances such as water, snow, stone, and earth bear evidence of the effects of humanity. Collecting, inventorying, and analysing samples of various substances sourced in the city, we begin to unearth the cumulative production of waste information and materials.
2016
Plastic Imaginaries portrays a ragpicker and a composter that suggest different ways of living with or without plastics. They live in a late plastic age, where previous visions of ridding humans from restrictions posed by nature through the use of technologies have become troubled. In this late plastic age the dependency on plastics is severe at the same time as the resources to make it are running out. Meanwhile, the accumulated plastic waste washes up as a new kind of resource, worry, and curiosity.
Although the narrative is a speculative fiction it draws on ethnographic material...
2016
What kind of life forms will survive with us or without us in other kinds of conditions than what we currently have on planet Earth? What kind of conditions and organisms are forming at the intersection of technological and biological evolution and human agency?
The project (in progress) investigates Normann fir Christmas tree as a postnatural organism and exposes it to changing conditions, such as micro gravitation with continuous rotational movement. The underlying idea speculates whether or not Christmas trees can survive in changing environmental conditions; on a different planet,...
2015
The world indoors is an installation that makes use of three types of tropical houseplants, the areca palm, the mother-in-law’s tongue and the money plant, in a combination supposed to produce ‘ideal’ air conditions. They are presented with a looped video that uses microscopic imagery of these same plants, that have been found to filter harmful substances and provide the fresh air and humidity needed in indoor environments, as well as in closed systems such as space stations.
By bringing up questions of material exchanges taking place through air, and how we come...