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.

VPT 7 released


After a long development period, VPT 7 is finally out.

The previous version,VPT 6, was downloaded over 20000 times.

VPT 7 is completely rebuilt making it faster, stabler, easier and more flexible to use than previous versions of VPT.

and yes, it is still FREE!

Some of the new features include:

dynamic layers: add the number of layers you need for a particular project.

flexible source setup: create your own mix of quicktime,hap,still and mix modules according to the need of your project (on top of the live, solid and syphon sources).

In the mac version VPT continues to support the syphon framework but has also added support for the HAP codec, an opensource codec that greatly improves playback of high resolution video.

there is a completely new mask editor which lets you add as many mask points as you need.

the cornerpin adjustements of layers have improved, now providing a more correct distortion

the mesh editor is also new, and you can now apply a mesh distortion together with cornerpin distortion (not possible in previous versions).

expanded possibillites with controllers and the cuelist

an optional alternative to the traditional VPT presets using source presets and source playlists.

The download includes a 70 page manual, and there is also a getting started video tutorial available, all from

Please continue to use the VPT forum  for VPT related questions:!forum/vpt-forum

blink @ woodstreet (Projected Light Space)

Woodstreet Galleries solo exhibition

I am showing 4 works over two floors at my first US solo exhibition at Woodstreet Galleries, which runs until April 8th.

On one floor I am showing three projection works: frame #2, circle #4 and blink@woodstreet. On another floor I am showing a new light installation, in transit (top picture) which is a 15 m animated light installation. To see more documentation (photo+video) follow the link to the different works.

The exhibition was supported by Pittsburgh Cultural Trust, Fond for lyd og bilde, Bergen Kommune and Kontainerkorporation.

romlab workshop

I just finished teaching a two week workshop exploring space using VPT and arduino.

I kept a project blog, romlab2012, which might have a few useful tips for the integration of VPT and arduino. It will be updated with a bit more documentation from the different projects in the near future.


multimorf 3: a composition for trombone and waterfall

I just finished a new collaboration with composer Knut Vaage, Multimorf 3, a composition for waterfall and trombone.

The image above is a snapshot from each of the nine sections of the piece.

The trombone plays together with recordings of waterfall and layered trombone overtones (also combined with live processing of the trombone).
The composition has an open form:
Vaage has together with sound designer Thorolf Thuestad created nine morphed backgrounds of waterfall recordings and trombone overtones. The trombone player, John Arild Suther, chooses how long each morph section should be played and in which order they should be played, as well as which sections of the composed score he wants to play within each section. This opens for very different performances based on the same material.

The video is conceived in a similar way to the morph backgrounds. The material is based on waterfall recordings and generated material, and each of the nine sections can be viewed as individial motion paintings. My intention was not to create something that followed the music directly, but to create a visual component that responded to the energy contained in a waterfall and to reflect the individual qualities of the nine sections. Since the length and order of each section can vary for each performance, I wanted each section to focus on layers instead of creating linear trajectories: If you see thirty seconds or four minutes of a section you will get more or less the same visual content, it is the combination and length of the different sections that create the linear dynamic of the piece.

The trombone player controls both the playback of video and sound backgrounds, using midi foot pedals, making it relatively easy to tour with the piece without involving too many people.

Multimorf 3 premiered on August 12th at Baroniet in Rosendal (probably one of the most beautiful places in Norway). We played outside in the courtyard of the Manor from 1665 to an enthusiastic audience.

It will also be performed at Bergen Architechture School on September 1st (together with multimorf 2), and at Integra in Copenhagen October 1st.