A E SUNDSTRÖM

Held Hostage

2011-04-29T16:54:00.000+01:00

Release me
from this hostage
for I'm held hostage
in this shell

UNDERWATER PRESS IMAGES

2011-04-27T13:38:00.000+01:00

UNDERWATER TEST VIDEO

2011-02-17T18:45:00.000Z

UNDERWATER TEST SHOOT II

2011-02-06T20:45:00.003Z

Photographer Mikael Johansson

UNDERWATER TEST SHOOT I

2011-02-06T18:07:00.004Z

IN THE DARK: WHERE WE UNFOLD

2011-02-03T21:55:00.004Z

In the Dark: Where We Unfold

For Memories as Reflections

2010-12-24T00:49:00.000Z

For this opens up the dark hole
not the one that creates but transforms
To see what it is for
gives so much more
I should be grateful to whom tore it open
for I share with the pain this immense eternity
where time is blind
and the wind is wild

For we do not wish an eternity here
where rest is not enough
We thrill at the thought of death
and try to drown in the bath
for we know of water as a mere extension
that fills us like ebb and flood

For light in the dark
where memories are reflections
of a once felt spark
Thus act impressions as the holy
filling the gaps
solely

DROWNING (sketch)

2010-12-13T14:50:00.002Z

DIAGRAMS (STAGES OF THE CONSCIUOS: THE UNFOLDING OF THE INTIMATE BEING)

2010-12-10T13:48:00.005Z

PRADA

2010-12-10T13:46:00.002Z

Image & Ritual II: In The Dark We Do Not Belong To Ourselves Or To Anyone Else

2010-11-15T17:05:00.008Z

IMAGES & RITUAL I

2010-11-13T21:40:00.002Z

The heart is to tear apart somebody else’s heart. Key becomes a weapon, each conquest a lesson.

A quality to leave, a weakness to grief.

WHY ARE YOU CRYING

2010-05-29T14:06:00.003+01:00

WHY ARE YOU CRYING

Language and the senses/The sensuous language

What words do you want to hear? Are they the ones that make you cry or put you to sleep? Language easily fails in communicating. Language is a function of understanding, employing the rational and reasonable in you. It is built up by semiotics; it represents what we already know in our physical exterior world. An ideal language would speak our hearts, the void of our loneliness. How do we communicate what is inside of us when language fails us?

I am looking at the sensuous language and how it is used in film and theatre, working with a set that is dramatically concentrated both in time and space. To touch an audience, how would one build a successful set? What will be communicated and what would be left out?

Film and theatre, for which I would like to find an adequate name, already use modalities of language we use in real life, although it is generally concentrated to images/text and sound. It therefore employs the senses of vision, considered the most important sense in a historical aspect, and hearing. A touch is always represented in front of you, and deals with the complexity and difficulty of reproducing a highly intimate and personal experience. Did the reproduction in front of your eyes of him leaving you make you cry, or the very event, which happened to you? What is the history of the senses and do they have a good reputation? Mark M. Smith explores the history of the senses in Sensuous History.

Film, contrary to theatre, works along linear lines. It is not able to show different layers to the viewer simultaneously, as it would be possible on a stage. In order to ensure the viewer, as she will always look for meaning, you need to present an image before another one to which she later remembers and can refer to. Text, linear as well, and together with images, creates an expectation and therefore a build-up with excitement, wishes and fears. It fully participates the senses. Julia Kristeva talks about neo-realism aiming at the real, often presented in montages of representations in Sensuoury history. But how do the blind see and how do the deaf hear? Is text better percepted in sound as voice? Writer and poet Tan Lin explores this matter of linearity of truth and its expectations in his texts and art works.

This type of touch has been examined by a few of the greatest philosophers of our time. Deleuze and Guattari speak about affect. As does Michel Serres in The Five Senses: a philosophy of mingled bodies, JJ. Gibson in The senses considered as perceptual systems and furthermore D. W. Hamlyn in Sensation and Perception. A history of the philosophy of perception. And you will always find inspiration in George Bataille's Visions of excess and My mother among others.

Someone’s work that has been very helpful and inspirational is Robert Wilson, beautifully put together in The theatre of Robert Wilson by Arthur Holmberg, although there are more books to read on him. His collaborations with Hans-Peter Kuhn regarding performance and sound I find very intriguing. The fact that they are working with theatre is a good way of analyzing what I will have to add or leave behind in film. Wilson creates confusion; I want to create reassurance, safety. But of course, one factor is in need of its opposite. This problematic I hope to find solutions to in Repressed spaces: The poetics of agoraphobia by Paul Carter.

What I hope to find a solution to create is change, by all these means of modalities. This, according to me and van Gennep, Victor Turner and Kristeva (who talks about Chora) among others, is a function of the liminal. The only place you are able to cry.

CRY

2010-04-30T16:22:00.005+01:00

We're selfish when we cry

and to say it's what we worry about

when our beloved does

Drying my tear

is another victory for you,

I fear

There's a whole from when we were young

that we must keep filling with lies

beautiful ones

Lie to me dear

for what you don't say

it holds me near

Honesty

will never sound clear to me

I hold you hostage for every word you say

You will never get away

BIRDS Series II

2010-04-20T17:13:00.010+01:00

YOU, EMBODIED

2010-03-21T12:27:00.006Z

What is it that people cannot explain, when they come out from a cinema? Not knowing what moved them; the music, what was said or how the characters moved on the screen, is confusing, because there is not a single answer to it. Changing requires various factors, to make their job, but it is inevitably your responsibility to allow it to happen. A successful change is the one when you come out with new eyes, experiencing the world in a new fashion. This change, or touch, is not just for well-educated or intellectual people, on the contrary, it is those who let go of their rational thinking who gain most. Ingmar Bergman describes it as putting yourself in a mode of imagination rather than the one of intellect. He says he listens musically to a piece of theatre, being either drama or film, because it entails a rhythm. [1]

Perhaps we are more likely to absorb, like children, if the realm of our inner self is not yet polluted by, not even our own thoughts, but even the ones of others. Even if the haptic, as this type of touch is called, has the ability to change you, it can also trigger feelings inside of you. Measurements of this have been done through galvanic skin response and heart rate. On a more non-scientific level, I believe it is as sufficient as the one mentioned above, to measure it by crying, and suddenly through that, realizing and understanding, as I believe this is how we leave our old self behind and make new space for another.
The haptic could not survive by itself though, being able to touch you, it is relying on other circumstances for you to set up or find. A space has to work with you as well as serve you; a liminal place has the qualities of this. The theatre and drama are good examples of suitable settings for change, based on time and space they exist only in a certain time and in a certain place. But what hopefully comes out of it, goes far beyond this setting. The viewer would let the characters or what is happening in front of him represent something out of his own life – let it all play an embodied model for himself.
In this essay, I will declare for what the haptic is to me, in relation to all the great thinkers who in some way explored this matter. In doing so, I will present the settings in which this change would allow itself to happen, and what depends on it. As I am dealing with the haptic, which is emotions most of all, I will not be able to resist discussing the nature of the human both embracing and neglecting the sides of changing. I will try to make out the complications furthermore concerning these settings, as they are restricted to time and space. Because as soon as we put “walls” around these areas of settings, both physically and theoretically, we say that I belong and you do not. Another great part of and influence of the haptic and the science and history of touch is distance, which I will evaluate closer. Eroticism is one of the areas that handle this to a great extent, in fact what its centre is made out of, alongside the notion of the opposite. It really comes down to what Laura U. Marks describes it as coming close, pulling away and coming up close again. [2]

Finally I will, with this information, hopefully be able to recreate these settings of the haptic and the liminal in order for my own work to be as successful as possible in moving people.

[1] Holmberg, A. The Theatre of Robert Wilson.

[2] Marks, U. L. Touch – Sensuous theory and multisensory media.

The Haptic

The haptic has been looked at, analyzed and applied first of all on the Egyptian art, and its opposite; optical, on the classical Greek art and the late Roman art. Through art historians such as Alois Riegl, Adolf von Hildebrand and Wilhelm Wörringer the research was meant to clarify and distinguish the meanings of both terms, and thus find out what these art movements were all about. They found out that the haptic, also mentioned as near and objective, was a way of seeing, not only with the eye but with the whole body. The optic, was looking at objects from a distance, also known as subjective and tactile. It is easy to get confused between all these notions about something rather abstract. But they were all looking at how art was long ago, not yet infused by the digital era. The art works were sculptures, in form of pottery or other three-dimensional objects, paintings or even architecture. I, myself, have never really been able to find anything that moved me in these areas of art; the haptic is inevitable above all individual. I am not in a position to say whether it depends on how I was raised not looking at art works (although, I cannot tell you if that only would have worked to its advantage either) or a fear to embrace it in order to retain the difference towards those people. I am undeniable a child of my time, memorizing things I have seen and emotions I have gone through, and furthermore recognizing them when they pass my way again.

Reality is looking out from a car window. Music is memory. In search of who I want to be, changing is travelling. Life is writing, a process.

Since the haptic allows you to see inside of yourself, triggered by something exterior, it has already everything to do with your experiences and memories. It reminds me of how I felt that time, and what it felt like feeling it. It reminds me of you leaving me, and that I am alone with everything we had. The haptic is as much a violent visceral feeling, like a stab in your heart, as a smooth one reminding you of something pleasant. A mode of vision, indeed. For me, a tactile touch can almost never be as overwhelming as the same one on the screen, reproduced in front of my own eyes. There, it has the benefits of being accompanied by music or voices talking to you, in a way you did not hear it when you experienced it live. In real life, you were too close, so this is the distance to yourself, viewable to you. “Photography”, a similar art to motion pictures, “is not the image of reality, but one of the means that allow it to be described by rendering it visible.” [3]

Reality is looking out from a car window. Music is memory.
In search of who I want to be, changing is travelling. Life is writing, a process. Laura Marks explains it in the way that “You cannot help but change in the process of interacting.” [4]

That is why I think the mode and the setting, in which the events take place are important when you are trying to touch - to move people. I have worked out an equation concerning the factors hoping to gain the haptic feeling:

The haptic = Touch = Changing = Liminal + Immediacy + Distance

[3] Delaporte, F. Anatomy of the Passions.

[4] Marks, U. L. Touch – Sensuous theory and multisensory media.

The Liminal and the Settings

When you go to see a piece of theatre, meaning drama, music or film, you have already set yourself in a mode of emotion, rather than one of will. This is to enable you to use your imagination for you to take in the impressions you will be given. These impressions will be received directly through your senses into your memories, and furthermore connect with all the parts inside of you, instead of rationalizing them with your conscious. This should work alongside the setting you are in, only enhancing the feeling of self-dissolving and being unaware of both yourself and people around you.

Safe, enough to cry
Safe, enough to lie

A cinema for example, is a dark space, suitable to percept impressions to touch – and thus change you. It is a space to cry in, to let go of yourself; leaving enough space empty inside for the senses to absorb something new, and come out as new. This, could one call a liminal space. It does not have direct contact with the reality or concrete surroundings, neither yourself in all your right. It is the place you are in, more as a state of mind, before having let go of your old self – yet about to enter your new one. This is a great moment. Of course, there are complications concerning changing. With changing being inevitable that someone or something else has the power over you in one of your weakest moments, and to “give up that you are right” [5]

, there is suddenly a shame in it. It is of highest importance that this setting and mode you are in treats you with great delicacy. To be safe, I rank as one of the top liminal factors. Where do I find safety? I feel safe when I feel like I can cry. We wait to until we get home, or lying on our bed – we cry ourselves to sleep. Sleeping as a ritual is liminal. “When you came home, you started to cry, when you woke up, you wanted to die.” [6]

[5] As told to me in a conversation with Brooke, J.

[6] As sung by Brun, A. featuring Matters, S. Little Lights, Duets.

Yes, I know what you mean

When we find ourselves in a safe place, being it internal or external, we require something more in order to be touched. Yet again, it is a responsibility us picture-makers have, being it still or moving, and should treat with great respect towards the viewer, and we could make the most of touching someone. To see myself, and furthermore realize and change, I need to be seen. How can a picture-maker ensure his viewer of this? Something that can be applied to all humans, yet being highly individual, is to let someone know you know what he or she means. This gives great comfort and re-assurance – and thus builds up a self-confidence and strength for the viewer enabling her or him to change. “I suggest that spectatorship is a ‘scene’ in which pleasure, responsibility and trust are negotiated between viewer and film.” [7]

Words should be used to tuck the viewer in, saying the things he or she is dying to hear. In order to enter and change someone else, you must sympathize with him or her. Therefore, the message should be, either silent or spoken – I know what you are about, it is difficult to change, but I am here. I know that I have great respect for someone who knows what my favourite things are.

Translate me, and set me free
Re-locate me, to where I’m bleeding to be
Translate me into colours, or your favourite words
So you can relate to me, when I fly with the birds

“(Robert Wilson) once told an actor to read the text as if he didn’t understand language. There’s so much going on in a line of Shakespeare, that if the actor colours the voice too much, the audience loses too many colours.” [8] Interpreting is indeed translating something into your own colours. A relationship involves respect and trust, also in a relationship between image and viewer. This should result in a freedom for the viewer to translate in his or her own fashion. What is communicated in a successful piece of haptic theatre? To me, changing is moving. I need to be put in a mode of travelling, as a visual symbol for me leaving something behind and moving towards something else. But it does not necessarily mean moving fast, a mind in its most beautiful state – change, deserves for it to go smooth, as if you were enjoying a great meal, and thus it should be relaxing and boring. Writer Tan Lin takes this notion to the extent that he is happy for his readers to fall asleep reading his work. [9]

This should preferably be accompanied by a ‘travelling’ piece of sound. Something with a rhythm, be it breathing, a piano or a choir reaching for some kind of ecstasy. “Where is life the most beautiful? Life is the most beautiful when you’re in a plane or a car going to the place you think is the most beautiful.” [10]

I agree, and I think the best day is the day after the best day, too.

There is so much, to learn
Far more, when we yearn

“Life is served by the ability to come close, pull away, and coming up close again.” [11]

Life is indeed made up of opposite events that are necessary it seems. Too much of what you desire, even if you get it, is going to somehow reduce that desire. Sophie Zelmani describes it accurately: “I want to wake up and find you, I want to wake up and find you, but if it’s true I won’t continue to.” [12]

In order to make this distinction far more stressed, which is often necessary in theatre as it exist in a concentrated form of time, these opposites have to be clear. The distance is only made visible by an immediate nearness.

[7] Marks, U. L. Touch – Sensuous theory and multisensory media.

[8] Holmberg, A. The Theatre of Robert Wilson.

[9] As heard in an interview with Pennsound and Lin, T.

[10] Interview with Scavullo, F. and Weld, T as published in On Beauty.

[11] Marks, U. L. Touch – Sensuous theory and multisensory media.

[12] As sung by Zelmani, S. Truth, Love Affair.

- - -

Bibliography list:

Holmberg, A. (1996) The Theatre of Robert Wilson. Cambridge: Cambridge University Press.

Marks, Laura U. (2002) Sensuous theory and multisnesory media. Minneapolis: University of the Minnesota Press.

Delaporte, F. (2008) Anatomy of the Passions. Stanford, California: Stanford University Press. Anatomie de Passions, 2003, Presses Universitaires de France.

In conversation with Jim Brooke to Anna Sundström. (10.11.09)

Brun, A., featuring Matters, S. (2005) Little Lights. Duets.

Deleuze, G., Guattari, F., A Thousand Plateaus, Capitalism and Schizophrenia. The Athlone Press London, 1988. (Milles Plateaux, volume 2 of Capitalisme et Schizoprenie, Les Edition Minuit, Paris, 1980.)

Iversen, M. (1993) Alois Riegl, art history and theory. Massachusetts: The MIT Press.

Interview with Pennsound and Lin, T. (2008) Philadelphia.

Interview with Scavullo, F. and Weld, T. as published in: Scavullo, F. (1976) On Beauty. New York: Random House.

Zelmani, S. (2005) Truth, Love Affair.

My favourite thing.

2010-03-21T12:18:00.002Z

I don’t really know anything about my favourite thing. But I do really have one, or even more. I am defending it, as it was someone offending something I cant really think about, but that is really precious to me. It could be a person that I’m in love with. When I was younger and it was easier to fall in love, I sometimes couldn’t remember who it was. I really tried to come up with who it could be, what he looked like and what we said if we even had spoken to each other. Maybe it didn’t matter so much who it was, only the fact that I felt in love. Nowadays I hear people being really certain about what their favourite thing is, and it is mostly just one or two so it is easier to tell and for them to watch them and defend them and look after them in general. I didn’t have to look after them since I didn’t really know what they were from the beginning. I don’t know my favourite thing by heart. Maybe because I have a lot of them. Or maybe because unconsciously I see them as a sign of weakness. If it was a thing, and if I was a child, not the child I used to be though, it might have been a toy pet.

My favourite word is a word I don’t really use a lot. If I even know it. Would I recognize it then? By the gentle sound it possesses and the light feeling it leaves you with. Or just a word that describes how the hair lays on the girl you wish you were in high school.

I hear people being really certain about what their favourite thing is, and it makes me nervous.

To hear your favourite words but not to utter them. Or to see them on a screen.

- My room is a field and my mouth, containing all things I don’t favour, I’m afraid of having them close to me.

- I lie to all of them.

Measures

2010-03-20T14:43:00.004Z

Measuring my worth around you

Wer're just a man and a woman too

I can't see why you have to choose

I'm just afraid that it's me you'll lose

We'll measure it all in time, in time, in time

When someone's left

and it's all mine

I'm always left

with what's mine

As long as I stay with you

and remember; I'm under you

The power it lies within

forgetting and letting no one in

Ann-Sofie Back Crimes Against Fashion Opening

2010-01-08T14:15:00.012Z

Translations

2009-11-26T17:49:00.000Z

Traduis-moi

et libères-moi

Re-localises-moi
lá oú je saigne d'être

Traduis-moi en coleurs
où tes mots préférés

pour que tu puisses me comprendre
quand m'envole avec les oiseaux

- - -

Translate me

and set me free

Re-locate me

to where I'm bleeding to be

Translate me into colours

or your favourite words

so you can relate to me

when I fly with the birds

BEING WORTH YOU Test Stills III

2009-11-25T12:55:00.008Z

ASB Hostage Film Stills

2009-11-23T16:58:00.005Z

Flamingos

2009-11-23T16:50:00.001Z

BEING WORTH YOU Test Stills II

2009-11-23T04:16:00.003Z

BEING WORTH YOU Test Stills I

2009-11-16T22:46:00.007Z

The Red Series

2009-11-09T21:29:00.004Z

ASB Knife Installation

2009-10-21T21:20:00.008+01:00

ASB Shop Opening

2009-10-21T20:57:00.004+01:00

Ann-Sofie Back held hostage

2009-10-01T18:20:00.013+01:00

Ann-Sofie Back as Carrie

2009-10-01T18:15:00.003+01:00

Palm

2009-08-23T16:18:00.007+01:00

Natural Reaction Against: Nature

2009-08-23T16:06:00.006+01:00

Stay with me

2009-07-28T14:19:00.007+01:00

Stay with me
and tear me apart
This leads nowhere
when I follow my heart

Leave me in
Leave me out
In aching time
you are a lot more mine

What I once thought
gives you more
is to loose

than to consume

I'm now sure
and fear
your presence is more

it's your call

What do I do
when I justify it
You're my truth
but I try to fight it

Words are words
and then you say them
Word by word
and then you save me

What I once thought...

Contemporary Performance

2009-06-12T11:27:00.005+01:00

Contemporary Performance/Mirror Sculpture

2009-06-10T14:55:00.008+01:00

Natural Reaction Against: Where I Come From

2009-05-26T20:03:00.010+01:00

GRAPHS

2009-05-20T21:50:00.004+01:00

Speed of Our Time (Mine and Yours)

How can you show things in a new light? If we are to believe that nothing can ever be new again, maybe you cant. And if you don’t believe in your own feelings, it is impossible. How can you make other people believe in it? People in general have always been fascinated by other people who know things, foreign people or just people who make you realize who you want to be. Whether you believe in it, is a question of if you are being threatened or impressed (which contradict each other as it is the same thing) by their appearance. If you get them on your side, you have at least won their attention.

Is truth a white line, and when does it change colour? And what has colour to do with lying? Those were the questions I asked myself in the beginning, and they didn’t make any sense at all. Can you make sanity sane? By showing it clearly, associated with things people can personally relate to, and connect it with scientific and philosophical facts, is that enough? To start, I wanted to make a test, which developed and came to be the new work, internal time.

“Kant says that time only has one dimension. It is the form of our inner intuition and as such lacks visually discernable contours. It has no evident shape – Gestalt – but we produce our own images of time through various analogies. We borrow models from geometry to get a better grasp of time’s inner workings.” – Chronology, David Birnbaum.

Everyday Time

I wanted to measure my apprehension of time, but without the clock measurements. I have chosen slow, fast or non-speed (normal). But my connection to reality will be the horizontal axis with objective time (clock time). My theory bases on that your time goes pass differently depending on if you are being active (+ expectations) and being passive (+ dependency). It is basics things such as going up in the morning, being stressed by all the things you should achieve today, you are being active and you experience time as going by fast. Later on, on your way to work or another obligation, stressed but dependant on things you can’t affect, such as traffic, other peoples´ decisions; you are passing the stage of “passivity +dependency”, and time still seems to pass as fast. After lunch or when you relax for a while, you are entering the stage passivity, and you feel like the objective time is slowing down. Not for long though, when you realize all the things that still needs to be done, you are passing through the stage “activity +expectations”, and you are experiencing time is passing faster, according to how little you feel is being down. Like this it goes on, entering non-speed when at sleep.

Time With Her

How can I show my internal time? The time I spent with her as a teenager, when I felt like in a bubble –due to my feelings of partly inferiority and partly excitement. Time with her was digital. All the clocks around us were digital, sitting in your armchair watching the TV and the clock on your stereo next to it as the time went by. But did it really? Even the clock in the kitchen was digital, displayed on the microwave. And even though your parents were there, they weren’t outside of this, they somehow added up to the feeling of alienation. When sometimes it felt like the time could go so slow, at other times so fast, what time did we exist in? Was it outside time, only my internal time, the time in my head, informed by my feelings and mood and responses to your reactions? I felt like I was on duty almost all the time; a job being your friend.

This diagram has two functions; heart rate and time, trying to prove the speed of time. My normal heart rate is 64 beats/minute, when I am generally in harmony with others around me and myself. It was the only thing I knew and which had to inform the rest of the diagram. And by that heart rate (feeling, mood), time went on in a general speed, objective or clock time. The higher the heart rate gets, on the left side, the minus side of the diagram, shows upon a slower apprehension of time, due to set in a inferior position towards her. The graph, which continues up along the heart rate axis, however, shows the time apprehended when in balance, harmony or even in a superior position to another. What feels like a relief now to somehow scientifically draw my time line with her, must have been a pain back then.

How To Get Over You

This diagram is based on, and developed around, a diagram of the phenomenology of time by the German philosopher Edmund Husserl. He tried to figure out the connections between now time and past, and what happens with the impression (P) when sinking down along the axis into the past (A-A´). The line, linearity, should always represent time, as it is an ongoing process of now-points that we experience after another (A-E). (E-A´) defines the continuum of phases, with the E being the now-point with horizon of the past. I was wondering if my internal time could fit into the one of Husserl. Am I inside his time, or his inside of mine? What for me is an impression that sinks into the past? I let (P) be Duncan, someone I haven’t successfully gotten over in the most “preferable” speed, if that is what (P-P´) stands for, but slowly am about to. I don’t let the diagonal line of sinking into pastness be a function to what only seems like being the impression itself and time, but also the second most important thing; substitute. Those are impressions too, who follows the original along the line of now-points. The sinking into pastness of the original impression, is a function of what comes along afterwards, but might not be permanent. As the following impressions will only ever have to live up to the reputation of the first one, they might not always succeed and therefore is the line of pastness not always ideal, when based upon human feelings, actions/reactions, and other unreliable phenomenon.

TRANS Book (drafts)

2009-05-20T20:35:00.007+01:00

TRANS Book

2009-05-10T16:55:00.027+01:00

Stuart Semple Moncler, Milan, New York Show

2009-04-23T20:24:00.007+01:00

Moncler flagship store

Milan and New York show

from L´UOMO Vogue, april 09

Truth Is Better Told Unfocused

2009-02-16T14:00:00.003Z

Honesty will never sound clear
to my ear
I hold you hostage for every word I say
I will never let you get away

- - -

SAFE

2008-12-22T19:22:00.004Z

I listen what I listen to

at home

I listen what I need to

bring back -

my dad at the couch

and my mum running around

I look what I looked for

still

Nobody´s enough though

for letting me in

Safe enough to cry

Safe enough to lie

TRANS I

2008-08-29T18:11:00.005+01:00

Traduis-moi

et libères-moi

Re-localises-moi
lá oú je saigne d'être

Traduis-moi en coleurs
où tes mots préférés

pour que tu puisses me comprendre
quand m'envole avec les oiseaux

- - -

Translate me

and set me free

Re-locate me

to where I'm bleeding to be

Translate me into colours

or your favourite words

so you can relate to me

when I fly with the birds

Translations (Group Exhibition), London

2008-08-29T17:40:00.011+01:00

End exhibiton including a photograph, texts and "Trainstations" film and a book "Trans".

On Photography

2008-08-29T16:31:00.003+01:00

You see, I'm not really into photographing. It's just, if there is a picture which needs to be taken, then I have to take it. And in that sense, I can understand some other photographs. Because maybe I am afraid of what it might expect of me -or more correct; What you would expect. I don't think it's honest to oneself to try to picture oneself in one obligation, in one phase of life. I think maybe it slows you down, if not minimize the image of yourself.
It is a little bit like references and how I choose, or what I would like to believe, not to use them. I think it restricts your way of working and your imagination.

"Knowledge is a language that you have to be able to throw away. You have to forget what you cannot do and just do it."
-Georg Oddner, an early assistant to Richard Avedon.

I resent how I can be almost impressed by someone who know things. Sometimes I think wanna be that person. Whom of myself shall I trust? Or to put it right; Will I be able to stand the pressure from those around me and the one inside me against always knowing appropriate things?

Emma

2008-08-28T19:24:00.001+01:00

Her name is Emma but looks like a Sophie.
I wonder who I'd rather be.