latest EXHIBITION:Nobody wants this,

Groupexhibition, location: HUS8000, Aarhus, iovermorgen.dk

28.08 - 27.09 2026, open all weekends, FRIDAYS 15-18, SAT/SUN 12-15

                                                         TORIST INFERNO, 2026,  plaster, wool, metal,  wood, 40x35 cm

The sculpture group is inspired by Dantes Inferno and the romanticism and horror of tourism, as well as Derridas term "Hauntology". I see Dante’s journey of discovery, with the poet Vergil as guide, mirrored in modern tourism. In reality, we are all tourists, particularly in this affluent Western world, moving through the world in search of the authentic, the original, and the yet undiscovered. Yet in the very attempt to find the unspoiled, we risk destroying the very thing we seek. The tourist becomes both ghoist and co-creator of the reality he or she seeks to experience. Tourism haunts its own world.
     The two gestalted tourists appear as ghosts because they are at once living figures and images of something that has already vanished. Their choreography around the fountain points towards the ghostly and spectral quality that often clings to the cultural sights we encounter on our travels: ancient fountains, memorials to the dead, equestrian statues, ruins, and the remnants of marble sculptures from antiquity. These may appear familiar and strange at the same time—as material traces of often wounded people and histories that we can no longer fully perceive.
 

 

 

                                                             TOURIST INFERNO (detail), oil painting on wool, 200x160 cm

about

ARTIST STATEMENT

In my practice I revolve around mythical iconography, wounded naratives and the longing for worship and healing in a fragmented world. 

I incorporate mythical motifs in a deformed and deconstructed version as a confronting expression of a world that is both broken and interwoven. the wear and tear of old materials is the very starting point for a story about a torn world. Torn textiles are processed through sewing, embroidery, mending, weather and water – as in my tapestries. In my paper works I work with old books, paper, parchment and similar objects. All the fractured surfaces in the material are silent testimonies to the world’s wound-filled myths and stories. The traumas of history and humanity’s longing for a restoration of a lost world are important themes in both my visual art and my theological thinking.

Education

I hold a degree in theology with a specialization in the relationship between trauma, the body, and experience in visual art. My thesis is grounded in trauma studies and examines how wounds and trauma can find aesthetic expression, as well as how art can serve as a space for the processing of suffering — both individually and collectively— and manifest as an ethical demand. 

As an artist i have recieved and Honorary Grant from Jens Einar and Johanne Larsen Foundation for my artistic work. My artistic praxis is rooted in and closely extends my theological thinking. in the exhibition Hot Hands at the Skovgaard Museum, where my art was exhibited, arts and crafts were presented as collectively healing practices in accordance with my artistic and theological specialisation in trauma and healing in art., 

I thus work at the intersection of aesthetics and ethics, and my competencies are oriented toward institutional contexts such as museums and psychiatry, where there is a growing need to integrate artistic, sensory, and pastoral approaches to care and reflection.