Spring Collection 2015: still on cardboard, some more complex than others but all investigating patterns and their recognitions. As usual there is a discount when made in bulk.

↓ ”A Prayer And A Pizza” or “Bed With A Vision”, (260 ≈ 360 x 320 ≈ 370 mm, apx and respectively), mixed media on cardboard and parmesan.


Yeah. On take-out cardboard mainly. (Thin crust, basil and roast peppers, well done) I had my medium delivered on a rainy day. And while waiting for her to come out of the shower I contemplated her architecture; at hand and out there. Both displayed in front of me for my viewing pleasures, shadows dancing in straight triangles, extending their corners. Then we drew the blinds to the world and tried to see it for what it really is.

↓ ”Grab” , (480 ≈ 270 x 290 ≈ 310 mm, apx and respectively), mixed media on cardboard.


1/φ, 22/7, part of the Fibonacci sequence and a cat called Schrödinger. And why not? Just random scraps in random shapes that you try to sort in random order. Cause if beauty is in the hands of the beholder it will eventually find its way to you, play right in to your yearning eyes. So that piece is best viewed with your eyes closed. Unclenched.

↓ ”Shoulda, Coulda, Woulda” and “Oughta, Mighta, Gotcha” (480 ≈ 270 x 290 ≈ 310 mm, apx and respectively), mixed media on cardboard.


Some cardboard boxes come with print. That makes it kinda ready-made. This one came in white, magenta and imperative words, full of spoiled surprises. That night I happened to dream I was making tea for a host of waiting people but I kept complicating it for myself, to a degree that it just became utterly impossible. And voilà: a piece on obligation and its pitfalls emerged. Hereby be warned. Adding a little spiritual geometry hopefully will detox it a bit.

↓ ”Autoportrait in Homemade Notation” or “Unfinished song in FM7 or something” (490 x 325 mm, apx and respectively), mixed media on fret-cardboard.


I noodle. Mostly guitar. Start with a weird chord stacked all lop-sided and always end up with a quirky progression and a song that takes me places. Mostly I get lost there, but that seems the purpose of my most productive endeavours anyway. Here I put it on corrugated fibreboard from what seems to have been a moving box once and it kinda ended up visualising that process. This particular piece is best viewed on a somewhat crunchy tube amp and goes well with my fretless bass.


”you me us this” or ”Lets Walk The Line”

The basic element of this object consists of a walkable passage made entirely from safety glass treated to operate like -what is commonly known, as a ”one-way-mirror”; transparent from the outside (the exhibition-room) and mirrored from the inside. Thusly the main visual input to visitors walking inside the passage, will be the interior reflections, the outside being mostly obscured by the mirrored surface. Visitors on the outside have visual access to what happens inside the passage as well as to the words ”you me us this” on one side of the passage exterior glass wall, faintly projected via video and running on an endless loop from left to right.

Added to the passage interior are 32 individual, flexible, silicon coated,  monofilament optical fibre cables, emitting a strong sideways light. Each fibre cable represents a line of light hanging from the fully mirrored passage ceiling (no one-way transparency). The cables are suspended on a line, the entire length of the passage at an equal distribution. The color of the light in each individual fibre has a specific value: the first cable at the right side aperture is a bright green (RGB 0-255-0), the last on the left a bright red (RGB 255-0-0). The 30 cables between these have graduating values to seemless mix the red and green. To emphasize this gradient the length of the fibre optic cables variates: the first green cable is cut to the exact length of half the passage height and the red cable close to full passage height (minus 5 cm above floor level to allow free movement). The in-between lengths of cables are trimmed so their ends describe a straight but descending line over the length of the passage. As the cables are flexible, do not transfer heat and hang in the line of traffic within the passage, visitors are welcome/forced to walk in to them or hold them aside as they pass, resulting in a constant motion of the cables. The light from the cables, the muted light of the exterior running text and a dimmed spot illuminating the pulpit, are the only lights in the exhibit room

The passage flooring is composed of 10 pressure- and weight sensitive rubberized off-white tiles. Each individual square tile (100 x 100 mm) covers the width from wall to wall in the passage and is rigged to play a single-note sound. The timbre, attack and release of each synthesized sound is designed to be mellow, soft, droning and slightly pulsating. Together the tiles represent a 10-note F#M7 chord with additional bass and high octaves. This chord is for all the uneven hours of the day (e.g. 01:00 to 02:00pm). For the even hours of the day they will sound the notes for a corresponding E6 chord with 5 seconds of silence fading in and out between the hours. The volume of the floor-sound is linked to the weight applied to each tile. This weight is cumulative: The more people in the passage, the higher the volume of the piece, maxing out at a 90 decibel pressure. The speaker system reproducing the sound is a surround-system encompassing the entire exhibition room with the ”sweet spot” (the focal point of the sound in the room) placed on the passage-end and the pulpit, while the pulse and drone of the chords will continue to “travel” the room in swooping circles.

The pulpit: At the left end aperture of the passage, where the fibre cable is most green and in the direction of the running text, an auxiliary object is placed: roughly cast in light grey concrete, facing the visitor exiting from the passage. The base of the pulpit doubles as the housing for a powerful subwoofer. A dim spot illuminates a book fixed on top of the pulpit. The 1002 pages of this ledger allows/asks visitors to enter the date of their visit and their name leaving only space enough for a short/single “word”. Two pens are offered -albeit secured to the pulpit by a thin steel wire, to make these entries: 1 bright red pen engraved with the words ”I walked the line” and 1 bright green pen with the phrase ”you me us this”. Replicas of these pens will be for sale in the museum shop in sets of two, with a certificate of authenticity, signed by the artist. *

The revenue from the income on the sale of these pens will be placed in a fund. This fund will focus solely on buying shares in companies that produce handguns, with the sole end-goal to obtain stock majority in said companies for the purpose of terminating the companies, their activities and any patents and/or licenses they might hold, completely and forever. Any revenue produced by these investments will equally go to this fund and its objective.


* Liner notes for the packaging:
We walk draw the line
And pledge never to build on failure,
but use it as a stepping stone
to ultimately turn the tide
$ > 
 > $

At the izakaya named Oysy (oh-ee-she), the song “Selfish” found its setting. And deep fried rock shrimp.

And oh, also delicious, Oysy’s “Summer” maki. F*** winter.

Go see my new video for “Selfish” from “S”

Oysy's "Summer" maki. F*** winter.

The best kept secret in Alternative Indie Nincom-pop Postrock is everywhere: “S” is available for your listening pleasure on Spotify

And Spotify has opened in Denmark as of today too. Congrats. Of course you can click the logo to listen and/or buy “S” there too.

Go ahead. Click. Enjoy.

Now available on iTunes for your listening pleasure. You’re welcome

S - Th(Is)How

“Rich on cinematic effect, layered with aural surprises, this narrative piece of program-music disguised as postpop/postrock beckons you to decode its heart and soul, blood and bones. This is how it feels to be lost by design and still safe. Somewhat.”

It’s been in the making for a while but now it’s happening: the baby is out and one can finally approach new sonic shores. It’ll hit iTunes shortly, but CDbaby has it on the shelves already.

  Go buy it. Reviews are welcome.