retrospective screening at cinemateket in Oslo

I thought it would be interesting to add some more information regarding the videoes presented for this screening, which is part of Greg Pope´s The Dream That Kicks series on experimental film and video. The Screening includes 9 of my video works, from 1995 to 2022.
This post basically compiles information from my series of instagram posts leading up to the screening.

retrospective #1
eye see
experimental video 1995
4 seconds

This work is included as an example of my early works with digital video. I was combining super8 and hi8 video recordings which was layered and transformed as a digital filmstrip in photoshop and exported as 160×120 pixel QuickTime video. This was the highest resolution I was able to work with on my computer at the time.
I had access to a professional betacam camera at the time through my work at the Student TV station in Trondheim, so I filmed these short QuickTime loops on a computer monitor, which made it possible to present it on film festivals. Two of these short works were even sold to NRK, the Norwegian State Broadcaster 🙂
I also presented this work on a floppy disk as part of my application to KIT, Trondheim Academy of Fine Arts, where I ended up studying.

During this period of experimenting with digital video I was happy to be part of a group of filmmakers in Trondheim, codex film+video. The main benefit of this was to be able to present complete screening programs to festivals and to be part of experimental film and video compilations like the Rage series, curated by Thomas Eikrem.

Screenings and compilations:
part of the Rage 4 video compilation, and sold to NRK2.
TMV festival 95 (N)
Peer Plexis Alternativ Bergen Filmklubb (N) 1997
codeX program UnderDog Kino Sentrum Scene 1995
codeX program framed.alt.culture (Hague, NL) 97
STV (N), ZTV(N/S), TV STOP(DK)

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Retrospective #2
H.K.mark1
experimental video 1998
5 min

An exploration of horisontal, vertical and mental structures, based on footage from Hong Kong. Five hours of raw material filmed with a small dv camera, later chopped up and transformed on a macintosh computer. I worked on forming each part to a coherent piece of video and sound, before combining the pieces into a sequence.

« A kaleidoscopic visual journey through the dense urban landscape of Hong Kong, in which the artist uses a variety of layering and image manipulation techniques to achieve a graphic visual quality with references to the tradition of oriental art. In the midst of the urban bustle, a Buddhist monk is a stark and compelling impelling image, like the still point at the center of the maelstrom. As with many electronic image works which focus upon the environment, either urban or natural, this piece returns our attention to the changing status of humanity´s relationship with its habitat. »
from the Magnetic North catalogue.

Selected screenings:

Urban Experiences program at Circles of Confusion Volksbühne, Berlin nov 98
Kortfilmfestivalen i Grimstad 99
Hamburg Shortfilmfestival 99
Kurzfilmtage Winterhur 99
Nordisk Panorama, Reykjavik 99
Magnetic North, video program touring the UK fall.99-spr.00
Resfest,American digital festival on tour in the US fall.99
YUV.01 screening program club.transmediale_02 feb 2002
kansk video festival, Moscow. aug 2002
YUV.02 screening program:
CTM.03
Diagonale festival, Medienturn Graz 03.03 Austria
6.Video and New Media Biennale of Santiago, Chili
Warsaw Electronic Festival, Poland

Filmform at Fylkingen, Stockholm 04.04
Seoul Fringe festival, South-Korea 08.04
Cityscapes screening at 11-art.com, Beijing 11.05
Cityscapes: Landscape in Art program at Febiofest, Prague 03.06
Lowave screening at Centre Pompidou, Paris 05.06

Selected exhibitions:
Trondheim Kunstmuseum (Magnetic North program) 99
UKS Tilt 99
sites of elasticity, Lommel 2006
Erranti / Wanderers in contemporary video art, Palazzo Pubblico, Siena 2008

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Retrospective #3
Crossings
experimental video 2002
4 min

Between 1998 when I made H.K.mark1 and 2002 a lot of things had changed through the emergence of realtime video processing, allowing me to do transformations and layerings of video live, compared to working in photoshop and after effects. With software like nato and later jitter for Max we built our own software instruments, and I started touring extensively with the video-impro-trio 242.pilots (Gilje, Lysakowski, Ralske).

Crossings was created live during a tour with 242.pilots. It is based on the principle of taking just a small part of each video frame and building layers of these fragments on top of each other, the resulting image is a collage of different time fragments.

Crossings appears on my dvd Cityscapes, released on #lowave 2005, as well as the 242.pilots dvd live in Bruxelles released on @carparkrecords 2002.

Soundtrack: a live remix by Justin Bennett of Silver Spider Morning by Jazzkammer

Selected screenings:

part of hiatus screening at mutek, Montreal. 05.02
backup festival. Weimar 11.02
YUV.02 screening program:
CTM.03
Diagonale festival, Medienturn Graz 03.03 Austria
6.Video and New Media Biennale of Santiago, Chili
Warsaw Electronic Festival, Poland
club.transmediale_03 Spatial Lines screening , Berlin 02.03
Rom for Kunst Videogalleriet at Oslo Central Station 04-05.03
Seoul Fringe festival, South-Korea 08.04
Cityscapes screening at 11-art.com, Beijing 11.05
Cityscapes: Landscape in Art program at Febiofest, Prague 03.06
HARDfilms:pixels and celluloid: cut and paste Kino Arsenal, Berlin jun 2007
Experimental 3 Osaka oct 2009
Programmer le temps: 50 ans d´art numerique, Illuminations exhibition Galerie G, Paris jun 2010
Cityscapes screening at Electron Festival, Geneva apr 2011

Selected exhibitions:
abstraction-now, künstlerhaus, wien 08-09.03
flashart biennale, prague national gallery jun-aug 2003
Cityscapes part of Reframing Reality exhib. at Museet for Samtidskunst Roskilde nov 2010-feb 2011

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Retrospective #4
shiva
experimental video 2003
8 min
soundtrack: kelly davis

When touring with various live cinema projects I was always filming, and that material became part of the performances. The performances were always improvisations, so could be very different from each gig.
I recorded most of the live performances which in some cases then became raw material for single channel videos, like shiva.
Shiva is based on recordings from BLIND performances. BLIND was a collaboration between me and kelly davis (@studiokellydavis).
The original footage was mainly from a 1km building outside Rome called corviale where I had been invited to do a project in 2002 (see last image), and from St. Petersburg (super8 from around 1995).
There was supposed to be a DVD release on Audioframes with excerpts from performances at Ouvertoom 301 and Dans for Voksne, but unfortunately that fell through (I am considering releasing some of that material because I think it is pretty good 🙂 )

Selected screenings:
Videoville program curated by mooroom at Enzimi festival. Rome sep 2003
KViKT, Reykjavik, Icelandic Airwaves festival 10.03
transmediale04, ambient land program, Berlin 02.04
Filmform at Fylkingen, Stockholm 04.04
Seoul Fringe festival, South-Korea 08.04
Under A/V signals program at Videozone, Tel Aviv, 11.04
rencontres paris-berlin, paris, 10-11.04
Cityscapes screening at 11-art.com, Beijing 11.05
Cityscapes: Landscape in Art program at Febiofest, Prague 03.06
Cityscapes: Nouvelles Images program at Rencontres Visuelles, Lille 04.06
lowave screening at MK2 Beaubourg, Paris 04.06
Cityscapes screening Club Instabil, Braunschweig sep 2006
Colorfieldremix program in Washington DC may 2007
Cityscapes screening at Moho gallery Krakow nov 2007
Cityscapes screening at Electron Festival, Geneva apr 2011

Selected exhibitions:
Cityscapes part of Reframing Reality exhib. at Museet for Samtidskunst Roskilde nov 2010-feb 2011
Total City, Institut Valencià d’Art Modern may-jul 2012

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Retrospective #5
Night for Day
experimental video 2004
26 min
collaboration with Jazzkammer

Originally commissioned as a live performance for Randomsystem Festival in Oslo (thanks @salamanderrishauo), night for day ended up as an audiovisual composition in 12 parts. It is based on material shot and recorded in Tokyo, which through intense hours of improvisation and meticulous editing has been developed into something which was described as expressionistic impressions from an urban reality, 12 audiovisual poems assembled into a surreal whole.

Night for day was a collaboration between HC Gilje and the noise duo Jazzkammer (@lassemarhaug and @johnhegre). We toured twice together in the early 2000s, in Europe and Japan, and also collaborated on Twinn, a piece with dance company Kreutzerkompani which I was part of at the time.

This was the last of my videos focussing on urban environments, and together with h.k.mark1, crossings and shiva, night for day was released as a DVD on Paris-based lowave. A huge thanks to Chris and Silke at lowave! One of the highlights was the opportunity to present this video at Cinemateque Francaise in Paris.

Screenings:
premiere random system festival at Parkteateret oslo 2004
The Norwegian Shortfilm festival 2004
Momentum 2004
part 3 screened at Eyes for other Skies (next wave festival), Melbourne Australia 2004
part 3 Seoul Fringe festival, South-Korea 2004
X-film festival Sofia 2005
Cityscapes screening at 11-art.com, Beijing 2005
Cityscapes screening at interferenze festival, Italy sep 2005
Cityscapes: Landscape in Art program at Febiofest, Prague 2006
Cityscapes: Nouvelles Images program at Rencontres Visuelles, Lille 2006
Cinemateque Française, Paris 2006
Paradiso, Amsterdam, 2007
Transvisualia festival, Gdynia Poland 2007
Festival Image de Ville: Lumieres sur la nuit, Aix en Provence 2009
Cityscapes screening at Electron Festival, Geneva 2011

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Retrospective #6
Barents (mare incognitum)
Experimental video 2015
4 min

This work has primarily been shown as an installation, but also exists in a screening version.
A view of the Barents Sea slowly rotating: up becomes down, east becomes west.
Invisible borders and thresholds, and the potential for disaster inherent in the ocean.
Filmed at the border between Norway and Russia, pointing towards the North Pole, using my custom built orbital camera.

The work is about the ocean surface as a border to a vast world mostly hidden from us, occupying more than two-thirds of our planet. It is about the beauty and power of the ocean, in everything that is still unexplored underneath its surface, but also about the potential for disaster with rising sea levels, acidification, rising temperatures, plastic pollution, risky petroleum activity and an extreme decline in marine biodiversity.
Finally, it is about the ocean as something that was there long before humans and which will be there long after we are gone.

Commissioned by Sonic Acts and Hilde Methi for Dark Ecology 2015

It won the expanded media award at @stuttgarterfilmwinter in 2017

Exhibitions:
Etnografiska Museet i Stockholm, part of exhibition Human Nature 2020-2022
Världskulturmuseet, Gøteborg, part of exhibition Human Nature 2019-2020
Wood Street Galleries, Pittsburgh, group show Boat Trip 2019
Broen til Framtiden, Folkets Hus, Oslo 2018
SALT, Oslo , part of Dark Eocology program 2018
Screen City Biennial, Stavanger, group show 2017
Stuttgarter Filmwinter, group show 2017
Van Gogh Museum, Amsterdam as part of Sonic Acts presentation of Dark Ecology 2016
Kristiansand Kunsthall, part of solo exhibition 2016
Klimafestivalen 112 in Oslo, 2016
EYE filmmuseum Amsterdam, 2015
Dark Ecology, Nikel, 2015

Screening:
Arctic Moving Image & Film Festival, Harstad, 2022

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Retrospective #7
entangled
experimental video 2018
2 min
excerpt from video installation

In entangled I used the laser scanning technique LIDAR to create a 3D cast of myself in the forest – a frozen moment in time orbited by a virtual camera.
I use a custom made LIDAR scanner to capture people and their environment which is lifted from its physical presence and transformed into a cloud of white points in a black emptiness. The scanner sends out pulses of light which interact with the physical structures of the space and what is left is a thin shell, a virtual cast of the original space and the people in it. Physical spaces become weightless spinning ghost spaces where the laws of gravity and solid matter no longer applies.
The form can be seen from the inside and outside, from below or above, close or at distance, solid matter has dissolved into textile like veils.

In entangled I explore ideas about our relations to the world: of being part of a greater whole, our brief appearance in the cosmic time scale but at the same time we are made of the basic building blocks of the universe created many billion years ago (it might be a cliché, but still true: We are recycled star dust).
We are responsible for and deeply entangled in the disintegration of life and diversity on earth. It is therefore vital to look at our relation to other species and objects: we are co-habitants sharing the same world, in the same way as our body is a shared world of organisms and cells, where the majority of DNA is not our own.

entangled was originally presented as a real-time installation: The 3d model spins at a constant rate while the camera view of the virtual camera changes at regular intervals.

The screening version was first presented at Arctic Moving Image & Film Festival in Harstad, 2022.

Exhibitions:
ANX (Atelier Nord), Oslo 2018
Kunsthall Grenland, 2018

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Retrospective #8
rift(HD)
experimental video 20017/2002
7 min
Soundtrack by Justin Bennett

rift consists of over 10000 microscope images of plastic wrappings from consumables.
rift is a film about petrochemicals, the completely different durations involved in the process from plankton to oil to plastic to waste, and the relation between depth and time through the layers of the Earth. The film takes inspiration from the hand painted and colourful animation films that Len Lye made in the 1930s. With a soundtrack by Justin Bennett.

Originally made for Vertial Cinema (cinemascope shown in the vertical format), commissioned by @sonicacts / Dark Ecology in 2017.
Rift has now been remade for horisontal screening in 16:9 format which premiered at Arctic Moving Image & Film Festival 2022.

Screenings rift (HD):
Arctic Moving Image & Film Festival, Harstad 2022
Onion City Experimental Film Festival, Chicago 2023
Norwegian Short Film Festival, Grimstad 2023

Screenings rift (original Vertical Cinema version):
Vertical Cinema at Sonic Acts Festival, Paradiso, Amsterdam, feb 2017. Premiere
Gøteborg Film Festival, 2018, Vertical Cinema program
Inversia Festival, Murmansk, 2018, Vertical Cinema program
Videoex Festival, Zurich, 2018, Vertical Cinema program

Exhibition rift (9:16 format)
ANX (Atelier Nord) 2018
Klimafestivalen §112, Deichmann 2018

Exhibition rift (Vertical Cinemascope):
Academy Museum of Motion Pictures, Los Angeles 2023-2024

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Retrospective #9
The intimacy of Strangers
experimental video 2022
10 min

An exploration of the microscopic landscapes of lichen living on one rock in the stone fence around Trondenes Kirke in Harstad, Norway.

Beyond their fascinating variations in appearance, texture and colour, lichens pose challenges to individualist models of species evolution. As explored in the writings of Alexander Bogdanov, Lynn Margulis, Donna Haraway and Merlin Sheldrake (the title of the video is taken from one of the chapters in his book Entangled Life), amongst others, lichens are not one singular organism. Rather, they are a symbiosis of several organisms from different kingdoms – a partnership of fungal and photosynthesising organisms, such as algae or bacteria. In this way, lichen offer radical models of growing together and acquiring new traits through inter-organism intermingling.

The film, commissioned by the Arctic Moving Image Film Festival, was created using a custom-made computer-controlled mechanical stage and a digital microscope. Almost 50,000 microscopic images were stacked and stitched together by Gilje.

For a detailed read-up on the making of this video, check out my blog post.

Screenings:
Arctic Moving Image & Film Festival, Harstad 2022
Sonic Acts Biennial, 2002
Kunstrum Fyn, 2022
Biophilia, Mexico City 2022
Kunstsenteret i Buskerud 2023
Kongsberg Kunstforening 2023

The intimacy of strangers

I just finished my new film of microscope lichen landscapes, found on a rock in a fence at Trondenes in Harstad, Norway. The film was commissioned by The Arctic Moving Image & Film Festival with premiere october 13th, 2022.
The film was created using a custom made computer-controlled mechanical stage and a digital microscope. Almost 50000 microscope images were stacked and stitched together into miniature lichen landscapes, with a virtual camera flying over these landscapes.
For the soundtrack I used free-impro drumming (performed by Justin Bennett), inspired by the free-impro symbiosis of the lichen, that transforms into a sonic landscape of sci-fi space exploration and encounters with mysterious creatures.

My hope when making this film was to create a bit of awareness about what lichens are.
Apart from the extreme variations in appearance, textures and color, lichens have become the poster organisms for a new biology which challenges the idea of the individual and supplements the theory of evolution.
The title The intimacy of strangers is taken from a chapter about lichen in the excellent book on fungi by Merlin Sheldrake, Entangled life from 2020. It refers to the fact that lichen is not one organism, but a symbiosis of several organisms, and these organisms are not related at all, they are from different kingdoms. Mainly a fungi that partners up with a photosynthesising organism (either algae or bacteria). So instead of acquiring traits over long stretches of time through evolution (so called vertical gene transfer), the lichen combines traits from fungi and algae/bacteria through horisontal gene transfer: Once they have partnered up they have acquired these new traits, no need to wait millions of years.
This partnership also means it doesn´t make sense to talk about an individual, but rather an ecosystem of players with different roles.

Me and microscopes

Digital microscopes have been a part of my practice since 2007 when my live collaboration mikro with Justin Bennett was first performed at Paradiso in Amsterdam.
Like telescopes, microscopes extend our perceptive range, letting us see details of objects and organisms which because of scale remains hidden to us in everyday life. For me it is always a joy to explore the microscopic universes of textures, materiality and colors.

In 2016 I was commissioned to make a film for Vertical Cinema, a project initiated by Sonic Acts where cinemascope 35 mm film is shown in a vertical format. I decided to make a microscope film based on plastic wrappings from consumables.
I wanted to work with vertical motion for the vertical screen so I made a computer-controllable mechanical stage for the microscope to be able to create animation along one axis: For every image captured, the stage would move by a very small increment making it possible to then create an animation from the still images. This resulted in rift which premiered at the Sonic Acts festival in 2017, with soundtrack by Bennett.

While working on this project I imagined creating a mechanical stage that could move in both x (sideways),y (back and forwards) and z (up and down) directions, and also rotate around the axis of the microscope to be able to create curves that followed the terrain of the microscopic landscape.

In the late summer of 2020 I spent a lot of time alone working underground in a former water reservoir to make the two large scale installations Shadowgrounds for Factory Light Festival. One of my studio neighbours suggested that I should read Underland by Robert McFarlane. Which I did, or rather listened to while driving to or working in the water reservoir. One of the chapters in that book is about Merlin Sheldrake, which made me listen to his book as well about the mind-blowing world of the fungi.
I don´t quite remember how I in the same setting ended up listening to a book by Jon Larsen, of Hot Club de Norvège fame, about his obsessive search for micro meteorites. To document the micro meteorites that he eventually found many of, he collaborated with Jon Kihle who had a powerful microscope camera. This is when I first heard about the concept of focus stacking:
Microscopes have a very shallow depth of field, which means if looking at something which isn´t flat most of what you are looking at is out of focus. Focus stacking works around this by combining images taken with different focus distances, thus bringing out the three-dimensionality of whatever is under the microscope.

After having visited Harstad for location scouting this spring I decided that this was an opportunity to realise my next microscope project.
I had found the perfect location around Trondenes Kirke in Harstad, a beautiful area with a lot of history, both from the viking times and more recently the second world war (with Soviet labour camp and later a camp for the people of Northern Norway who were forced to leave their homes at the end of the war).
There are rock fences built around the church and the graveyard, covered with a carpet of lichen, the orange colours being the most noticeable. I thought it could be interesting to do a very site specific project, to just focus on life on this one rock in the fence (as a parallell to life on the bigger rock Earth).

I have always been interested in how things and organisms have completely different time cycles / durations, and seeing the lichen growing on the rocks on the fences around the church it made me think of everything that has passed by them during their existence (the oldest lichen that has been dated is 9000 years old and lives in Sweden). Although lichen and humans inhabit the same planet we live in parallell worlds with different time cycles.
Sometimes these worlds interact with each other: Lichen mine minerals from the rocks, thus releasing minerals trapped in the rocks to the greater eco system (that might end up in your body at some point). Lichens are often the first settlers on new territory: They make the first soil on new rock formations (islands, lava, mountains) which becomes a starting point for other life. Lichen notice the presence of the human world mainly through pollution which has caused several species to go extinct.

Many of my projects starts with first developing hardware and software that I then use to make a piece. This involves a lot of research and getting into things I know little about.
I often quote Ursula K Le Guin: “I don’t know how to build and power a refrigerator, or program a computer, but I don’t know how to make a fishhook or a pair of shoes, either. I could learn. We all can learn. That’s the neat thing about technologies. They’re what we can learn to do. ”

Making, learning and sharing tools is an important part of my practice, so the next section is an attempt at sharing some of the process (nerd alert) in making this film.
The challenge for the hardware side of this project was to be able to create a moving platform that was able to repeat the same motion over and over again with very small steps.
I am not so experienced with mechanical motion, so there was lot of trial and error before I was able to get the motion of the mechanical stage stable enough. I am lucky to have access to both the maker spaces bitraf and Fellesverkstedet in Oslo where I can make prototypes and finished work with laser cutters and cnc routers. In fact the mechanics and motion control of laser cutters and cnc machines are very similar to what my needs were for the microscope stage: Horizontal motion (x and y) and Vertical motion (to move the microscope closer or further away from the sample). On top of that I wanted to add mechanical rotation to this, thus having 4 axis of motion.

Luckily in the midst of my mechanical struggles I discovered the technique of stitching individual microscope images together to get a bigger mosaic image, something often used in medical and biological microscopy. This is to compensate for another inherent issue with microscope photography: The larger the magnification, the less you see of the sample (small field of view).
This changed my working process dramatically, as I instead of making individual paths for the mechanical stage to follow, I could do an automated grid scanning of a sample, and then make as many paths I would like in software later, making the whole process much more flexible.
So for each position in the grid there would be x number of images taken at different focus depths. As an example a grid of 5×5 would cover an area of about 8x8mm, and with maybe 50 images per tile this becomes 1250 images for one sample of lichen.

So how did this setup work?
The microscope camera is connected to a computer running a microscope imaging software (toupview in my case).
The mechanical stage consists of 3 motors being controlled via a standard arduino-based cnc 3 axis controller used in DIY 3D printers and CNC machines. The software to control this was Universal Gcode Sender, which basically sends information to the controller about the position for the XYZ axis among other things.
So for each XY position in a predefined grid (positions calculated in rhino/grasshopper but that´s another story) the Z axis will move closer or further away from the lichen sample to get different focus for the microscope. The actual low and high points is different for each sample so I do a manual check to get an idea of what works best for that particular lichen formation. For each Z position a trigger is sent from the controller via another microcontroller to trigger image capture on a computer. This is then repeated for every XY position in the grid setup.

After the individual images of each tile have been captured the process of stacking and stitching starts.
There are several options for focus stacking software. The two most popular ones are ZereneStacker and Heliconfocus.
For stitching there are some free alternatives like ImageJ/Fiji, with various plugins but I ended up using a commercial application, PTgui which is very intuitive to use and with great results.
After all the images have been stacked together, and when each tile has been stitched together with the other tiles I have a lichen landscape I can explore.
For this I create camera paths in free 3D software Blender from which I make animated sequences of the camera moving across the landscape. I started getting into Blender and camera paths when working with 3D scans in the performance Nye Krigere, and later in the series of point cloud works Vardø Kystopprøret, so I could use that experience to create camera (and light) paths to get interesting camera movements.

Finally for the soundtrack, I ended up using Reaper, which is a very reasonably priced DAW (digital audio workstation), and like Blender there is a big community of enthusiastic users sharing knowledge, making it easy to find what you look for.

The stars of the film

Vardø

I recently finished a project in Vardø, a small community basically as far north and east you can get in Norway (it is for instance further east than Kyiv and St. Petersburg). It´s one of the oldest cities in Northern Norway due to trade and fishing, and fishing is still the main livelihood there.

In mid February I made a sort of mini art festival there in collaboration with Nordnorsk Kunstnersenter and a lot of great local venues and people. All the works I made grew out of field work done in Vardø, with focus on the coastal fishing community and a community green house project.

Here is a video from a research trip last September:

A bit of context

My first encounter with Vardø was when I was making the video Barents (mare incognitum) for the Dark Ecology project in 2015, when I really got a sense of the vast ocean, and a feeling of being at the intersection of different worlds somehow.

stills from Barents (mare incognitum)

Dark Ecology, initiated by Sonic Acts and Hilde Mehti, took place in the border area between Norway and Russia. Vardø and the whole north-eastern region of Norway have strong ties to Russia, being close neighbours. There has been trade relations for many hundred years, and it was the Soviets that liberated this part of Norway at the end of the second World War.
At the same time the biggest radar system in western Europe is placed in Vardø, being NATO´s eye into Russia, making it a primary bomb target in case of conflict.
My project finished just before the aggressive, meaningless invasion of Ukraine.

There are big fishing resources just outside Vardø which has been harvested for centuries. These resources are also a source of conflicts between local interests and big capital:
The privatisation of the national fishing resources through the fishing quota system introduced in the 1990s (where quotas now are sold for big money), which apart from putting in the hands of the few something that belongs to everyone, also makes it a huge investment to become a fisher.
Locally based coastal fishers also create jobs on land (processing and packaging of the fish, preparing the lines before fishing, repair and maintenance of boats and equipment etc), while big fishing trawlers and fishing factories deliver very little of the fish locally (which is actually against the law): 70-80% of the fish is sent directly to other countries for processing or is processed on board the huge factory ships. Even most of the fish that is sold in Norwegian grocery stores has been processed and packaged somewhere in Europe or Asia. This is an economic disaster for the fishing communities as well as very little environment-friendly (not to mention scraping the ocean floor with trawls vs fishing with lines).
These are some of the conflicts that is fronted by Kystopprøret (Coastal Rebellion), where some of the main protagonists are based in Vardø, and the iconic mural by street artist Pøbel has become the symbol of this rebellion.

Kystopprøret (coastal rebellion) logo on wall by Pøbel : The natural resources belong to everybody (scan by HC Gilje)

Vardø Kystopprøret

I made a series of works entitled Vardø Kystopprøret, based on 3D scans of some of the fishing equipment used by the coastal fishers. I was fascinated by the very intense colors of especially the fishing lines (which apparently have no practical value as they are used so deep in the ocean that there is no light), and how these very concrete objects turned into abstract point of colours.

I capture the objects and environments using a lidar scanner (which captures depth information) combined with a camera (which captures colour information). From this a point cloud 3d model is calculated, which is the departure point for the work I do in the 3D software: Work with lighting and the virtual camera and render the result as animations, holograms or still images.

One animation was presented on a big flat screen in the window of local radio station Radio Domen, visible for passersby.

the window of Radio Domen, right photo by Karolin Tampere

I also created 3D animations presented on small holographic screens placed at various locations in the city, trying to reach an audience that might not actively go to see an exhibition.

Nordpol kro (a pub established in 1864!

the café at Strandtorget

the local grocery store Knut Bye

Finally I made three light boxes with still images from the 3d-scans in the windows of Barentskrummelurene and Galleri Luna, also very visible for passersby.

The three images in the light boxes

Barentskrummelurene/ Galleri Luna (left photo by Karolin Tampere)

Vardø Felleskapsdrivhuset

A quite different type of work grew out of learning about the volunteer based construction of a community green house in the center of Vardø. Even though they have midnight sun from mid May to end of July, they also have polar nights (no sun at all) from end of November to about mid January.
I just thought it was very inspiring and a project full of hope, so I asked if it was possible to make a light installation there, even if it wasn´t finished yet.

My installation was in the smallest of the two spaces, and the plan for the green house is to combine all-year growing of herbs with small cultural events. The bigger space will be the main growing space.

The idea for the installation comes from light being the maker of life through photosynthesis. I created a sort of hanging garden where each unit consisted of a light source and a pile of phosphorescent pigment on a dish. The light charges the pigment, and the pigment gives off a green light.

A big thanks to all the generous and helpful people in Vardø, Karolin Tampere from Nordnorsk Kunstnersenter and BEK for letting me use DeepBEK for rendering.

old and news

Hi, this post contains the newsletter from oct 2021 with the newsletter from nov 2020 added to the end (for the record)

october 2021 newsletter

last chance:

magasin 3 at Oslo Negativ

I was invited to create a light installation in the former main branch of the public library in Oslo, aka Det Gamle Biblioteket, as part of the large photo exhibition/festival Oslo Negativ. Maybe not an obvious match, but it was impossible to say no after having seen the former storage spaces for the books not shown in the public shelves. I worked in magasin 3. What is interesting is that the shelves continue on the floors below and above, so there is a gap in the floor and ceiling where light leaks through.

More than 7000 visitors have seen the exhibition before the last weekend October 22-24th.

more info at Oslo Negativ

featured:

Touching at a Distance

The one liner: a project aiming to create intimate experiences over distance using tangible and sensuous objects.

I wrote about this project in the previous newsletter last November, and have been spending a lot of time this year creating various prototype objects. The a pair of objects are connected together via the internet (but no computer is involved).

I have created six prototypes so far:
knock box: communicate with knocks over distance
kula: pass a ball between two spaces
puls: sense the heart beat of the other person
trigger bell: a bell rings in my home when you enter yours.
light to light: sense the light of one place and make it light up an object in another place.
flammen: I light a candle in my living room, a candle is lit in yours.

The video is a functional description of the objects communicating via internet, so please bear in mind that the objects in real use would be in separate locations.

Here is a short assembly video of the puls object:

It is still a bit unclear to me what this project is and how it can be presented. The most obvious to me at the moment is that these are objects to have at home to create the right context for these types of more or less intimate interactions.

You can read all about the project (including the prototypes mentioned) in the touching at a distance blog.

Two projects from the spring:

Nye Krigere

A collaboration with Pål Bøyesen and Future Daughter.

(photo: Arne Hauge)

A performance piece that premiered at Rosendal Teater in Trondheim in March, centered around the relationship between an old and a young warrior, somewhere between samurai and Norwegian folklore. A performance where costumes, objects, set design, sound, music, light, video and projection were tightly integrated with the performers actions.
It was one of the more fun and rewarding collaborations I have had in a long time, and provided a much needed energy boost. The performance turned out really good and weird.
This was my first attempt at photogrammetry, creating 3d objects based on photos. Apart from the video content I also did projection and light design.
Here is a very short teaser we made before the premiere. It doesn´t really tell you much about the performance, but maybe a bit about the nature of the piece.

The Rise and Fall 2 at Festival of Light Art Geiranger

This pilot edition of the festival took place in the spectacular surroundings of Geiranger, a village placed by a narrow fjord surrounded by high mountains.
My work was the least nature-centric of the projects presented, being more of a dialogue with the structures of the Fjordsenter building.

The festival was a collaboration between the Geiranger World Heritage Foundation and Fjord Studio.

If you are in Oslo in the beginning of November be sure to check out another festival organised by Fjord Studio, Fjord Oslo

ongoing:

Vardø

(photo: Sanjey Sureshkumar)

This has been one of the projects that has been postponed many times during the pandemic, and I guess this has also influenced the direction of the project.
I first visited Vardø when I was making Barents (mare incognitum) for Dark Ecology in 2015, and fell in love with the place.
This time I have been invited by Nordnorsk Kunstersenter to do a projected in/related to Vardø.

I am not going to tell you what I will be making there yet, but I will give you a quick introduction to Vardø:
Vardø is the town closest to the Russian border in Norway and has a long history of trade with Russia. It was also, like all town in the Finnmark region, burnt to the ground by the Nazis at the end of World War 2.
It´s main resource is fishing, surrounded by the Barents Sea as it is. It is a small island, and it is connected to the main land via an undersea tunnel. Also very noticeable are the big radar domes operated by NATO. There are quite a lot of empty run-down houses, a sign of a community that has been struggling: people have moved because there are few jobs.
There are also many signs of optimism, epitomised by Kystopprøret (coastal rebellion) fighting for the right to the fishing resources (natural resources belong to the people).

upcoming:

solo exhibition at Møre og Romsdal Kunstsenter in Molde

On November 25th my exhibition opens at Møre og Romsdal Kunstsenter, with a mix of new and old work. Hopefully with one of my light drawer machines.

bonus:

If you are using spotify, I have a playlist with some of the music I have listened to during the year that I keep adding new tracks to.

Remember, if you really like someone´s music consider supporting them through bandcamp or similar as spotify still pays ridiculously little per play.

——————–

newsletter nov 2020

Touching at a Distance

I am launching a new project and blog for a new long term project.
The ambition of the Touching at a Distance project is to create intimate experiences over distance using tangible and sensuous objects.
The project focuses on physical actions and tactile interfaces, and creates a bridge between people at different locations through physical objects, connected together via the internet. It removes screen, keyboard and the mouse as interface, acknowledging the vitality of bodily experience and human touch.
Read more about the ideas and plans for Touching at a Distance.

If you find this interesting be sure to subscribe to the blog (on smartphones select blog from the menu)

Shadowgrounds

In August and September (and most of October to recover) I spent a lot of time underground to create two large scale immersive installations in a former water reservoir (total area of 1000 square meters / 10750 square feet) by Semsvannet in Norway. It was part of Factory Light Festival which took place over three weekends.
As with my other site specific installations the works were created in and for the space. There were three qualities of the space that defined how I developed the works: The location (in the forest, underground, how you enter the space by first ascending then descending), the symmetric grid of pillars, and the long reverb of the sound.
Please have a look at the video documentation to get an impression of the two quite different spaces that emerged.

Left Hall:

Right hall:

upcoming

Vardø

a little delayed, but still preparing for a project in Vardø where I will do a series of Lidar portraits, and create a few ad hoc light installations in February. This project is an invitation from Nordnorsk Kunstnersenter.

Nye Krigere

A theatre production with premiere at Rosendal Teater in Trondheim in March, where I am contributing with light and projections for Pål Bøyesen and Øystein Kjørstad Fjeldbo´s creation Nye Krigere.

works in progress

light drawing machines

I am working on a series of light drawing machines: Using the same type of light absorbent surface as in radiant I am working on different ways of drawing on the surface with mechanical movement: One based on a vertical plotter, one using a LEDstrip and one using a customised vacuum robot.

microscope

I am working on several projects involving a microscope, among them a new moving platform for a new microscope film (I made rift in 2017).

stereolux

For my performance and installation at Stereolux in Nantes I answered a few questions about my work from Laurent Diouf, chief editor of MCD. The short version will be at stereolux website, but here is the long version:

01_ First, a few sentences about Radiant… about the meaning of this installation… and also about the use of laser and phosphorescent paint…

My work with Radiant started out with some thoughts on extinction, growth and decay, the fascination with how plants create food from light and the material qualities of laser and the phosphorescent pigment. Laser light is more intense than sunlight, and phosporecent pigment are actual natural minerals that are able to capture light and slowly release it as a green glow (In the times of Galileo they were called solar sponges).
Radiant is also much about time and speed: The intense quick drawings of the laser point versus the slowly fading out when the light is released. The interesting things happen in the layering of these drawings, where you can see traces of multiple pasts mixed with fresh drawings: different time scales (or Bergson´s duration) coexist on the surface of the screen.
For the audience I think it works also in a different sense when thinking about scale. It contains both a macro and a micro scale: You could be staring into the universe or be looking at a cell or subatomic processes.

02_ Your works / installations are “conversations with spaces” (with light, projection, sound and motion)… is it the same way for/with Radiant ?

Normally my process is to start with the space where I will make a work, spend time exploring it, using improvisation as a method: I bring my set of tools and start experimenting my way towards a path that creates an interesting amplification or transformation of the space.
With Radiant it is a bit different since I started it out as making a big flat quadratic light painting (the one at Stereolux will be 3.6×3.6m), and not particularly thinking about the space it would be presented in.
However the installation is transformed by the spaces it is presented in, and it also has the power to transform and intensify the spaces it is presented in. It is a quite different setting from a rough concrete environment at Kraftwerk during Berlin Atonal to a circular floor projection with a custom made arced wall in at Kunsthall Grenland in Norway.
Also the light of the white laser beam is quite intense so the resulting shadows in the space is quite similar to my other light installations.

03_ Following the opening of the exhibition, you’ll do a performance. What about this live a/v ? Will you use some elements from the installation in/for your set ?

Radiant started out as an installation, and I always thought of it as a loop piece because of the constant layering of time creating new images, where the installation becomes a place or a state you walk into. As a live performance time is not circular, it has a direction so this changes quite a lot the experience of the piece I think. Also a live set is more of a communal experience while the installation is maybe better experienced alone or with a few people.
The raw material of the installation and the live set is more or less the same, it is the structuring that is the main difference.
Also, the live set introduced the soundtrack, which is created in real time using the amplified mechanical sounds produced by the laser mirrors. The sound from the laser is amplified and played through the speakers, but also recorded and reappearing as new sound layers (similar to the visual material) during the performance.
My exhibition at Stereolux will actually be the first time I will try use this sound setup for the installation as well.
04_ Generally speaking, how do you manage your live’ set ? What do you want to show, to give to the audience through a live A/V. ? Is it also a “space for co-working” with other artists ?

I guess I partly answered that in the previous question, but for me this performance is about creating a focused intensified experience for the audience, in contrast to the installation which is more of a meditative piece.
Almost all of my other live A/V performances are quite different from this one, as they are real time free improvisations with musicians or other visual artists, where the process unfolding through the collaboration is the interesting part.
So Radiant Live is a very controlled piece in that sense, with a quite fixed structure but with room for variations.
05_ If you have some others projects…

I recently created a site specific light installation for four interconnected rooms in a gallery space. The piece was called Red White Black and consisted of two rails of LED strip that followed the contours of the rooms and doorways. One pulse of white light moved in one direction, one pulse of red light moved in the other. Super simple in one way, but it created a very dynamic space of opening and closing, revealing and hiding, a space that expands, collapses, twists and turns in the light from the red and the white pulse of light that chases along the walls, corners and door openings of the space. Probably one of my favourite pieces 🙂

A very different work but which has been my most shown work the last years is Barents (mare incognitum). It is a single channel video installation of the Barents Sea slowly turning around. It was filmed at the border of Norway and Russia with my custom built camera pointing towards the North Pole. It is one of many works that came out of my involvement with the Dark Ecology project; a series of journeys and projects initiated by Sonic Acts and Hilde Mehti in the Norwegian-Russian border area.
Another work that came out the Dark Ecology project was my film rift, combining
my love for the experimental film maker Len Lye and an interest in the deep time of plastic. It was part of the Vertical Cinema program: experimental 35 mm cinemascope films in the vertical format.

Finally I would like to mention speiling, which is the latest in a long series of projection spaces: solid coloured organic forms projected onto a highly reflective floor, creating a dynamic light space.

Right now I am working on two quite different projects: an installation for a stalactite cave in an old fortress to be presented in August, and a series of installations for next year where I give myself the challenge to work with light, sound and motion but in a normally lit space.

06_ Feel free to add or highlight anything you might think relevant.
This is my first solo show in France, although I showed my installation in transit X in Marseille as part of Chroniques Festival in 2017. I have also had a few screenings in various locations in France, including Cinemateque Francaise and Centre Pompidou, due to my involvement with the video art publisher lowave, which released my DVD Cityscapes back in 2005.

I made a book in 2017 documenting many of the Conversations with Spaces projects.
It is available through motto distribution.

VPT 8 released

I just released VPT 8, over ten years after the first release of Video Projection Tools (VPT).  VPT has proven to be a popular free alternative for windows and mac users interested in projection mapping and realtime video experiments: The previous version VPT 7 was downloaded over 100000 times, 2/3 was windows users, 1/3 mac users.

VPT 8 has a lot of under the hood changes. It is now 64-bit only. It will also be the last version of VPT.

I have created an online manual which should make it easier to get started doing interesting things with your computer and a projector.

You can download and read more about new features on the VPT home page.

newsletter spring 2017

This is a modified version of a newsletter I sent out in april this year.

My book “Conversations with spaces” is out!

178 pages hardcover.
almost 150 pages of full page photos
4 new essays by Anne Szefer-Karlsen, Joost Rekveld, Mitchell Whitelaw and myself.
design by Lasse Marhaug

The book documents ten years of work related to my ongoing Conversations with spaces project.

released at a newly started publishing house in Oslo, uten tittel (from the people behind Teknisk Industri and Orkana forlag).
A big thank you to everyone involved in making the book!

The book can be ordered through the international art book distributor and book shop Motto  and the publisher uten tittel.

If you know of (or work for) an institution/library/shop that you think would be interested in the book, please take contact.

 

I made a film for Vertical Cinema

rift is a 35 mm cinemascope film in the vertical format commissioned for Vertical Cinema, curated and produced by Sonic Acts.
The film premiered at this year´s Sonic Acts festival at Paradiso in Amsterdam in the end of February.
It will be part of the exclusive Vertical Cinema program that tours worldwide.
Read more about Vertical Cinema

rift is about petrochemicals, the completely different durations involved in the process from plankton to oil to plastic,
the relation between depth and time through the layers of the earth, the transformation and the forces involved in
turning plants into crude oil, extracting the oil and making plastic which combined with ink (another petrochemical product)
is turned into colourful packaging for consumables, and then thrown away adding to the heap of plastic in the oceans
and in the ground, with a much longer duration than the item it served as packaging for, the person who bought it or the company that made it.
This might sound like a gloomy film, but it is also a film celebrating motion, energy and colour, accompanied by Justin Bennetts groovy soundtrack.
It is my homage to the New Zealand artist and motion-enthusiast Len Lye.

 

Barents (mare incognitum) won the Expanded Media award at Stuttgarter Filmwinter

I showed my Barents video at two different festivals at the same time in January.
At Klimafestivalen §112 in Oslo as well as at Stuttgarter Filmwinter where it received the Expanded Media Award.

 

Speiling presented at NNKS in Svolvær and in Sortland

my speiling installation which premiered last fall has been presented at NNKS in Svolvær in February and March, and travelled to Sortland in April, as part of the group exhibition that relates to Gunnar Tollefsens work.

 

 

in transit X in Marseille

In end of January I was invited by Seconde Nature and ZINC for the Chroniques Festival as part of the launch event of Future Divercities,
to present in transit X at the Alcazar library in the center of Marseille.

 

artist lab at Antifestival

In october last year I was part of the first Future Divercities artist lab organized by AntiFestival.
Watch a documentary of the lab

 

RAKE visningsrom

Last winter I was given the opportunity to create both an indoor and outdoor work for RAKE visningsrom in Trondheim.

 

 

Cityscapes screening at VIDEOBOX FESTIVAL / Le Carreau du Temple in Paris on April 26-29th

hkmark1, shiva, crossings and night for day was part a program at VIDEOBOX FESTIVAL curated by Odile Burluraux, curator of the Musée d’Art moderne de la Ville de Paris, and Corentin Hamel, co-chief executive for the New Galerie, with the focus on artistic representations of the city.

 

 

 

newsletter september 2016

it´s been half a year since last newsletter, so I thought it would be time for an update.

KRISTIANSAND KUNSTHALL

I start with my current exhibition at Kristiansand Kunsthall, my biggest solo show so far in Norway, with almost 500 m2 of exhibition space.

I am showing 5 works there: Circle (2011), in transit (2012), revolver (2013), Barents (2015) and the new installation beacon (2016).
The exhibition is a collaboration with punktfestivalen, and also included a performance of mikro in collaboration with Justin Bennett.

You can get a quick overview over the exhibition in this short video:

and plenty of images to be found here

BEACON

Three light projectors suspended from the ceiling slowly scanning the space.
Each light projector consists of a light that orbits around a container of glass filled with water.
The water and glass works as a lens, focusing the light into a strip of light that moves around, like an inverted lighthouse.

more images

SPEILING

Light projection on a custom built wall and floor.
A black and white form on a red background slowly changing shape and moving along the horizon.
Inspired by Gunnar Tollefsens paintings “rød speiling” and “blå speiling”.
Created for the group exhibition “Mitt Landskap” at Bodø Biennale across three venues: Stormen, Bodø Kunstforening and Bodø Domkirke.

The exhibition presents the paintings and sculptures of Gunnar Tollefsen in the context of younger generation of artists. Here he is in front of my installation:

(photo Siri Tollefsen)

The other artists in the exhibition: Siri Austeen, Johanne Hestvold, Linn Halvorsrød, Olav Christopher Jenssen, Edvine Larssen and Vemund Thoe.

more images

 

MIKRO

(photo Rosa Menkman and Per Kvist)
For the third Dark Ecology journey which took place in June, I was commissioned together with Justin Bennett to make a new version of our performance collaboration mikro.
Mikro series is an audiovisual improvised performance where we use material found at the location we perform.
For Dark Ecology we collected materials from the whole journey: Pasvik, Nikel, Kola superdeep and from the processing plant in Kirkenes where we performed.
During the performance I use a microscope to examine and capture the textures of the various materials found, while Justin uses various microphones to sample and process sounds he creates from the materials.

Watch the video below to get an impression of the performance at Dark Ecology:

more images

We also got a chance to perform this at Kristiansand Kunsthall as part of punktfestivalen in the beginning of September.

We enjoy this collaboration and would love to do more performances, so please be in touch if you know of a suitable venue/occasion.

 

LIVING EARTH -FIELD NOTES FROM THE DARK ECOLOGY PROJECT 2014-2016

The Dark Ecology team has created a beautiful book summing up the three Dark Ecology journeys. I have been so fortunate to be part of all three journeys and I am happy to be included in the book!
Read more about it and how to order

 

SPIN AT ØYAFESTIVALEN
I showed an outdoor version of spin at Øyafestivalen, Norway´s largest music festival that took place in Oslo in mid-august.

 

UPCOMING
Barents will be shown at a one-night event at the van Gogh Museum in Amsterdam on October 28th. A collaboration between Sonic Acts and the museum.

I will participate in a artist laboratory project at theANTI Festival, Kuopio, Finland end of October, as part of the bigger project “Future DiverCities – Creativity in Urban Context”.

Solo exhibition at Rake Visningsrom in Trondheim in November, really looking forward to doing something at this place.

…and a few unconfirmed projects that will hopefully happen.

newsletter leap day 2016

Hi,
it´s time for a newsletter on this bonus day, with a look back at the projects I completed at the end of last year and the beginning of this year.

For a quick overview of most of my 2015 activities take a look at the 2015 showreel:

Also I have finally updated my website, please have a look at the projects section.
http://hcgilje.com/

 

Barents

(photo Lucas van der Velden)

Barents (mare incognitum) is a large-scale projection of the ocean slowly rotating, filmed with my orbital camera. More specifically it´s the Barents Sea, filmed at the border of Russia and Norway, pointing towards the North Pole.
It was shown in Nikel as part of the Dark Ecology journey which took place in the border area between Norway and Russia in the end of November.

In December it was shown for a week at the EYE Filmmuseum in Amsterdam.

In January it was shown outside Kulturkirken Jakob as part of Klimafestivalen §112.

more images:
http://nervousvision.com/hcgilje/projects/barents.html

 

The Crossing

Another project for Dark Ecology: Pulses of light passing over an unfinished structure of concrete slabs sticking up from a frozen dam. A total of six lines of light were suspended over the 20x20m area in the industrial zone of Zapolyarny, Russia.

more images:
http://nervousvision.com/hcgilje/projects/thecrossing.html

 

Triptych

Bergen, 11. desember 2015: Bergen Elektroniske Kunstsenter feirer 15 års jubileum på Landmark. Foto: Eivind Senneset

a live collaboration with phonophani (Espen Sommer Eide) at Bergen Kunsthall Landmark for the 15th anniversary of BEK. Sadly not a lot of documentation from this performance which was the first time I collaborated with Espen. You will hopefully get the chance to hear some of the music in a future release from phonophani.
I used the orbital camera as a live camera for this project with the idea of three different motions for the three different parts in the music: panning, rotation and combining panning and rotation.

 

Revolver vs Vibratone

On a very cold evening in January lots of people came to RAM Galleri in Oslo to experience my collaboration with sound artist Alexander Rishaug. It was the 4th version of Spaces Speak, audiovisual evenings curated by Ricardo del Pozo and Joakim Blattman. Rishaug created different soundscapes centered around his large Leslie cabinet with a rotating speaker and I showed the light installation Revolver.
You can get an impression from the video here:

 

ps. while you wait for the next newsletter you could have a look at the whole performance of Voice with Maja Ratkje at Kongsberg Jazzfestival last summer:

newsletter november 2015

It´s been a long and busy autumn for me, but the dark times are not over yet!
Below you will find information about projects just about to happen, ongoing and completed projects since end of August.

—UPCOMING—

Dark Ecology Journey
Kirkenes, Nikel, Zapolyarny, Murmansk nov 26-30th

Just before the climate summit starts in Paris I will take part in the second Dark Ecology journey in the border area between Norway and Russia.

During my residency in September in Nikel and Vardø I ended up with two projects I wanted to realize and thanks to the amazing production team they both seem to be happening!
Both projects are outdoors: In Nikel I will show Barents (mare incognitum), a large-scale projection of the ocean slowly rotating, filmed with my orbital camera. More specifically it´s the Barents Sea, filmed at the border of Russia and Norway, pointing towards the North Pole.

The second installation is the crossing, a light motion installation in a very Stalker-like environment outside Zapolyarny.

Check out the complete Dark Ecology program.

BEK 15th anniversary at Bergen Kunsthall Landmark
Bergen dec 11th
I will be part of the line-up for an exciting evening celebrating Bergen Center for Electronic Arts

Weather report
Amsterdam dec 15th
A cinematographic weather report at the Eye film museum in Amsterdam, with a few projects from Dark Ecology. I will give a presentation of Barents (mare incognitum). In the week ahead of the event, the Barents video will be screened for an hour every day at the EYE.
More information about the event at the EYE site

—ONGOING—

blink-hamar-2015
Kunstbanken Hamar, until January 3rd

For my current soloshow at Kunstbanken I am showing a new version of the projection installation blink as well as the light installation revolver.

more images of blink at flickr

off-the-grid
Prosjektrom Carl Berner, until November 29th

A light-motion installation created specifically for the gallery space situated inside the metro station of Carl Berner in Oslo. I have lowered the ceiling by hanging the grids from the existing light fixtures and replaced the lights with moving light pulses.

more images at flickr

—COMPLETED—

in transit X
Signal Festival, Prague october

An outdoor version of in transit X presented in the beautiful courtyard of the Church of Our Lady of Snows in the center of Prague as part of the light art festival Signal Festival.

more images at flickr

flip flop
Galleri Lynx, Sculpture Biennale Norway, october

a kinetic installation with flip dots created for the pavillion of Galleri Lynx in Oslo as part of the Norwegian Sculpture Biennale 2015.
A mechanical repetative motion propagating the room through sound, light and shadow.

more images at flickr

glimt
SALT, Sandhornøy autumn 2015

light-motion installation for the winter darkness at SALT, Sandhornøy, Norway

more images at flickr