I have recently found interest in the landscape and trees and my work revolves around turning these into something that is both very generic and specific at the same time. I have been inspired by the medieval battlefields in the Scottish landscape, dating to the 14th century and I am interested in finding the neutral ground, where the past 700 years become invisible and specific details impossible to point out. By collecting material from the battlefields and constructing my own woods and landscapes in the studio, I am diluting the contrast between inside and outside, i.e the meaning and the form, and the landscape turns into being everything that exists in front of my eyes. I am interested in the aesthetics of the landscape of everyday objects and the relations that sprouts when constructed sceneries are combined with the “real thing”.

My current practice also revolves around the artist’s studio and how the birthplace of artwork reflects on and influences the artwork itself. In my landscape work, I am focusing on the originality of the landscape by constructing sceneries out of every day objects that can be found lying around in the studio. The images remain truthful to their original surrounding, they are openly exposing the context of the studio. My landscapes tries to capture the truthfulness of the term “landscape” – ‘all the visible features of an area of land, often considered in terms of their aesthetic appeal’.

Battles, no. 1-6
pigment print, frame
35 x 28,5cm, ed. 5+2ap

Stilled Lives, no. 1-6
pigment print, frame
60 x 45cm, ed. 5+2ap

Loudoun Hill In My Hands
pigment print, frame
50 x 63cm, ed. 5+2ap

It Can Only Be Inherited
pigment print, frame
22 x 17cm, ed. 5+2ap

Pink Tree, Falkirk
pigment print, frame
70 x 100cm, ed. 3+2ap

Studio Landscapes, no. 1-2
pigment print, frame
100 x 67cm, ed. 3+2ap