Wood carving and rotation in combination, production during a residency with Grafikens Hus.
An active measuring of distance and time. Playing on one of the central principles of reproducibility – the practice of rotation. Performance at SITE specific with woodcut sculptures, on papers, in the bushes and as a exhibition over the process and material outcome, open until September 7.
2025
A work with three rotating wood block sculptures. Used in the performance printing they print in red, green and blue – tracing a rope, a scale and repeatedly ten grass straws.
A rope, a plank, a line, a scale.
They overlap and bleed.
The motives come out of research and formulations about human abstractions like law, maps and tiles, all becoming tools for human domination of the landsacpe. The work also addresses ownership and how physical or intellectual properties is involved in the formation of an individual. Law, as well as interpretation and moral, is dependent on social negotiation and agreements. A line drawn alter the landscape, conserning rights and usage, but not necessary the landscape it self. A boarder is abstract, invisible for birds.
The performance took place at KKV in Farsta, Stockholm, with the rotating sculptures made during a residency at Grafikens Hus. The papers was prepared with screen printed images of two ropes and some planks, also produced by the artist at KKV’s graphic workshop. Printing as performance rolled over a paper area of 5 x 11 meters, accompanied by the artist’s voice through a waist-mounted speaker.
An additional performance brought one 25 meters long printed paper into a nearby wild park, and the doing was informed by comments over the waist-mounted speaker. The voice as one layer of knowledge and naming, along the up-right paper catching shadows made by the sun and the pines.
Both performances was part of SITE specific performance festival.
The process is on display in an exhibition over the summer at Farsta, Mårbackagatan 7c. Finissage Sunday September 7 with a conversation with Nina Beckmann from Grafikens Hus.
Showing prints, other traces and the rotating woodcut sculptures.
Working on soft sculptures, as part of a larger project on land ownership. – In geometry, a Platonic solid is a convex, regular polyhedron in three-dimensional Euclidean space.
A two hour long performance intervention with fifty meter paper, and voice, inserted through the shrubbery in Tantoparken, in Stockholm. Weld held a one day festival named “In the Park”, filled with dance and art performances.
2024
Abstract Partition is a two hour long performance work for the festival In the Park, organized by Weld.
50 meters of paper, in two sections of 25 meters each, standing 150 cm high—or wide—accompanied by the artist’s voice through a waist-mounted speaker, gloves, wooden sticks, tape, staples.
A paper roll of twenty-five meters, placed consecutively through the vegetation, with the aim to stand upright, supported by trees and bushes. In open spaces, additional support sticks are inserted, placed in opposing pairs or passed through holes in the paper. The paper becomes a backdrop to the greenery.
At one point, a horizontal line is drawn with moistened earth and a grass brush, guided by the liquid level in a bottle. The paper’s curvature shifts in the wind, necessitating adjustments to the line. The site as a flow. A blackbird coexists with the paper and its installer in the thicket.
The video Pipeline (from 2007) was included in the celebratory exhibition ‘Elektronmusikstudion EMS – Art, Technology and Politics’, at Scenkonstmuseet in Stockholm.
And was also shared in the second edition of KINOBOX, as part of LIAF 2024 – ‘Gnistsambandet (Sparks)’, in Svolvær. In the programme reflecting on the themes of the festival – connections, signals, networks and distribution.
Directions of faux leather falling, a soft smooth movement. If someone cranks the crank. A wall based sculpture. Shared with a reading at Bie Biennal 2023.
2023
Shared at Salon Bie Biennal
Hand-cranked sculpture, with three wall-mounted components. A couple of rotating flat surfaces and a crank. The strips of faux leather fabric will fall over (each other) under the force of gravity, intertwining when the surfaces they are attached to rotate. The person who cranks decide on the speed – the crank’s relative size slows the tempo. As one cranks, the overview is replaced by a proximate intimacy, extending even to the auditory realm. How softly the looped faux leather touch when twisting their planes when turning.
The title alludes to the number of faux-leather elements, as well as the directions they assume.
Constructed from wood, faux leather fabric, linen fabric, a metal crank, drive wheels cut from wood, rubber cords, and more.
Occupies approximately 2.5 x 3.5 meters, with components about 0.8 meters in diameter.
2023
A performance composed for the opening of Dear swarm-I, a room swarmning of we-me-s performed by Jaana-Kristiina Alakoski, Marcus Doverud, Niels Engström and Liv Strand
Duration about 20 minutes
Four folded large scale paper bags get presented as the performance matter. The performers make vocal sounds, mimicking the sounds of the crackling paper as close as a human mouth possible can. Audiable not so near as the constitution of the human mouth and vocal cords differ from smooth strong paper.
After a while the performers enter the paper bags, one by one, and move around. As bags, as the content they form. As content they are disguised, their individual movements compose the purpose. This goes on until they re-appear and leave their quite warn paper bags huddeling behind.
Exhibition at Haninge konsthall. Negotiations of bodies and space through paper and text in an installation that explores paper as a carrier of meaning. The work challenges modes of reading and makes it a spatial task, that encourages and choreographs the gaze of visitors to bend around paperedges and across the space.
