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


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


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



(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).


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.


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)


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:



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.


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).

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


Sonic Acts festival 2017, Amsterdam;

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.


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

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

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


(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.


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


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


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

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.


(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:


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:



BEK feirer 15 år

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.


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


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

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


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

SALT, Sandhornøy autumn 2015
light-motion installation for the winter darkness at SALT, Sandhornøy, Norway

more images at flickr

circles and lines: newsletter december 2014

The last four months has been a continuation of my interest in working with motion through spaces, objects and landscapes, and the relation between the ephemeral medium of light and physical structures. This has resulted in a series of light-motion installations as well as the development of a completely new series of works called Orbital.


photo:Nik Gaffney
Orbital is based on an idea of exploring spaces and landscapes using a video camera that slowly rotates around its own axes, and captures the world that rotates around it. The camera is like a probe that can be brought along on expeditions in both friendly and unfriendly environments, and is partly inspired by the camera that Michael Snow got constructed for his film La Region Centrale from 1971. Snow´s camera was so big it needed to be flown in with a helicopter to a remote mountain region in Canada, while my expedition camera fits in a small bag and can be used to explore both small and large environments.



A few confirmed activities for next year is my participation at Adelaide Arts Festival with a big new outdoor light-motion installation in end of February, my second solo show at Woodstreet Galleries in April and a book release.

Looking back
Since it´s been a while since my last newsletter I will not go into detail with each project, but I encourage you to check out the video links.
I start with the most recent project and work my way back to the summer.

Solund Light Art Festival November
I showed three installations at this year´s festival: Revolver 2 in Solund Church, spin in the harbour of Hardbakke and kile/wedge on an island in the harbour.
Three artists were invited this year: Viel Bjerkeset Andersen, Ellen Røed and myself.

photo: Sigve Lerpold
spin_solund-nl1 kile02-nl

photo: Anne Marthe Dyvi



Groupshow at Babel: Intervensjoner Trondheim, October

I presented the first video in my orbital series, made using my custom built rotating camera. I filmed inside a gymnastics rehearsal space, recording slow rotational movements of the camera in the space.
The other artists in the show: Book and Hedén, Holm and Jørgensen, Berge and Havneraas, Konow-Lund, Stensland.




in transit X at Kulturkirken Jakob Oslo, October
I showed a large light-motion installation inside the church, a continuation of previous in transit installations.
Laila Kongevoll and Trine-Lise Nedreaas was also part of the exhibition.




Dark Ecology Kirkenes-Nikel, october
I had the chance to participate in the Dark Ecology journey in the border area of Norway-Russia, organized by Sonic Acts and Hilde Mehti. I did some preliminary sketches using my orbital camera.



Todays Art Den Haag, September
I presented a new version of the light-motion installation trace at Todays Art at the beach outside Den Haag in a building that used to be the archive for the war-crime tribunal for former Yugoslavia.



Factory Light Festival Slemmestad, september
I showed the light-motion installation spin inside a former cement factory.



Klangrum 14, Møn, august
I got the opportunity to present 7x7cirkler at Klangum 14, the light installation I created for Else Marie Pade´s 7 cirkler which was initially shown  in the unheard avantgarde section of the Sound Art exhibition at ZKM in 2012.



Kunstverein Springhornhof june-august
This summer the Wind-up birds resided in the beautiful German countryside.


Frame #2 (Projected Light Object)

The 2nd version of Projected Light Object: Frame at my exhibition at Woodstreet Galleries.

Previous version:

frame #1 at ANX, Oslo Norway 2011

More images of Projected Light Object: Frame

circle #4 (Projected Light Object)

The 4th version of Projected Light Object: Circle at Woodstreet Galleries.

Previous versions:

circle #3 sensxperiment, Lucena Spain 2011

circle #2 Wellington Lux, Wellington New Zealand 2011

circle #1 IMAL, Brussels Belgium 2011

More images of the different circles.