Cut-up-poem on painting on cardboard, prayer rug size. Instructions for use: aim directly towards the nearest conscientious brain.

↓ “Pray be …” or “Your part of Time”, 510 x 785 mm, mixed media on cardboard.

Prayer_cardboard_txtApply and repeat. But be quick about it. We’re running out of time. And brains.

Thanks go out to the TSA for checking my suitcase for contraband and leaving a note about it, telling me that they would not be responsible for any damages done while doing their job. Also completely disregarding the sense of invasion afflicted upon yours truly. As you know, dear reader, I do not favor borders. In my opinion, the divides between nations, creeds, races and the like should not be enforced but celebrated with open minds, hearts and arms. (Looking at you, one-percenter)

So while it’s totally unrelated and I’m horrifically disgusted by the tearing down of historical artifacts in the Middle East in the abuse of religion (the latter being a waste of intellect anywhere at any time, anyway) I am studying ancient crafts and mathematical arts from mentioned region and paint geometrically inspired. Since I travel with an array of art materials always foraging wherever I go, some of those (beware of implied irony: very small containers of very suspicious liquids) probably were flagged in the x-ray.

The language of the TSA note is as passive aggressively daunting as anything anyone entering the US through the hands of the Homeland Security would ever experience. To assuage the asperity of that I chose to re-appropriate it. Cut it up to find the true message within their text. The result feels a little like a prayer, a polite request, doesn’t it?

To sincerely feel free
please appreciate
however unable

if you have the contents
to open this process
please do this.

your next questions
and your suggestions
break the locks on your

forced to Center:
on how to protect you
from this

your part of Time



Actually, refugees don’t flee in order to get in. They come here, because they have to get out.

↓ ”In is as far as Out” or “Burden”, (435 x 230 mm + 240 x 335 mm), mixed media on cardboard.

On that note it’s important to keep in mind: borders between our nations are not constructs designed to keep aliens out either. They are put in place to keep you, me and also the xenophobes in, in check, in line, from interfering, from conferring.

Oh home, sweet home, I wrote you a poem. The dearest reader must excuse the danish, and find an approximated translation below. The references to both national anthems and native pop songs probably don’t come through to a non-dane and I apologise for that. In regards to the issue at hand I think you must count yourself happy. Leave it to the danes to be sorry. (though I am sure that these days you can find your own local predicaments that hopefully are handled more gracefully)

Åh (komma) danmark
Din skede er rummelig (komma) men gold
Til dem der står dér (komma) ude
Og banker på
Siger du (kolon)
Knep dig selv (komma)
Skridt for skridt

Prygl (udeladelsesprikker)
Grænseløs kærlighed
Tandløs dolk
Spytklat (lighedstegn)

Bakke (komma) dal
Afskårne, omskåret
Sønner i krig (komma)
Slik dig om munden
Sønner fra krig (udeladelsesprikker)
Lukket land (komma)
Ørken (skråstreg) våde drømme
Bølgen blå

Oh (comma) Denmark
Your snatch is spacious (comma) but barren
To those who’re (comma) out there
You say (colon)
Go fuck yourself (comma)
Step by step

Thrash (ellipsis)
Borderless love
Toothless dagger
Glob of spit (equal sign)
Snail’s trail
Primordial sea

Hill (comma) valley
Cut off, circumcised
Sons to war (comma)
Lick your lips
Sons from war (omission dots)
Closed Country (comma)
Desert (slash) wet dreams
The blue wave


Transits of Venus (slow moving facts, unreachable truths and trivial news / there’s a poem, a code to our blues / dripping with foam, the guise of lust / Mars can’t wait to crush and get crushed)

               Millenium Catalog:2001 CE to 4000CE 
               (Astronomical Years: +2001 to +4000) 

                    Transit Contact Times (UT)
              -------------------------------------  Minimum           
   Date         I      II   Greatest   III     IV      Sep.  Transit
               h:m     h:m     h:m     h:m     h:m      "     Series 

2004 Jun 08   05:13   05:33   08:20   11:07   11:26   626.9     3 
2012 Jun 06   22:09   22:27   01:29   04:32   04:49   554.4     5 
2117 Dec 11   23:58   00:21   02:48   05:15   05:38   723.6     6 
2125 Dec 08   13:15   13:38   16:01   18:24   18:48   736.4     4 
2247 Jun 11   08:42   09:03   11:33   14:04   14:25   691.3     3 
2255 Jun 09   01:08   01:25   04:38   07:51   08:08   491.9     5 
2360 Dec 13   22:32   22:52   01:44   04:35   04:56   625.7     6 
2368 Dec 10   12:29   13:00   14:45   16:31   17:01   836.4     4 
2490 Jun 12   11:39   12:02   14:17   16:32   16:55   741.1     3 
2498 Jun 10   03:48   04:05   07:25   10:45   11:02   442.7     5 
2603 Dec 16   20:43   21:02   00:13   03:25   03:43   517.1     6 
2611 Dec 13   12:04   13:07   13:34   14:01   15:04   934.8     4 
2733 Jun 15   15:02   15:30   17:18   19:06   19:34   808.3     3 
2741 Jun 13   06:33   06:49   10:17   13:44   14:00   385.6     5 
2846 Dec 16   19:30   19:47   23:11   02:35   02:52   432.1     6 
2854 Dec 14     -       -     12:19     -       -    1026.7     4 
2976 Jun 16   17:45   18:19   19:44   21:10   21:44   850.5     3 
2984 Jun 14   09:01   09:16   12:49   16:22   16:37   336.3     5 

3089 Dec 18   17:39   17:55   21:31   01:06   01:23   320.6     6 
3219 Jun 19   20:50   21:46   22:19   22:52   23:49   908.1     3 
3227 Jun 17   11:21   11:37   15:13   18:50   19:05   293.4     5 
3332 Dec 20   16:16   16:32   20:14   23:56   00:12   235.5     6 
3462 Jun 22   23:29     -     00:27     -     01:26   948.1     3 
3470 Jun 19   13:31   13:46   17:26   21:07   21:22   247.9     5 
3575 Dec 23   14:29   14:44   18:32   22:19   22:34   131.5     6 
3705 Jun 24     -       -     02:32     -       -     989.3     3 
3713 Jun 21   15:25   15:40   19:22   23:05   23:20   215.2     5 
3818 Dec 25   12:57   13:12   17:01   20:50   21:05    41.1     6 
3956 Jun 23   17:22   17:37   21:21   01:06   01:21   175.2     5

the harder you try = jo hårdere du prøver Bukowski, translated

Once again Charles hit/hid a note of ringing truth, somewhere. And I found it worthwhile to have a go at a danification, since it’s applicable to this little self-righteous gene pool they call denmark, somehow. Knowing that Mr. Bukowski was a german-born white guy living in Los Angeles, hanging with all kinds of cats; the line about the “wise white boys” probably could have a more direct contemporary “cultural” translation, but I stayed true to his meter, somewhat. The only liberty I took was to emphasize “garbage” in translating it to literal “shit”, since we danes are very very fond of that word and use it without discrimination and always and everywhere, flaunting our ignorance that has become the pride of all our national characteristics, someway.

the harder you try 

the waste of words
continues with a stunning
as the waiter runs by carrying the loaded
for all the wise white boys who laugh at
no matter. no matter,
as long as your shoes are tied and nobody is walking too close
just being able to scratch yourself and
be nonchalant is victory
those constipated minds that seek larger meaning
will be dispatched with the other
back off.
if there is a light
it will find

jo hårdere du prøver

de spildte ord
fortsætter med en forbløffende
og tjeneren løber forbi og bærer sin fyldte
for alle de bedrevidende hvide drenge der griner af
lige meget. det er lige meget,
så længe du har bundet dine sløjfer, og ingen kommer for tæt på
bare det at være i stand til at klø sig selv og
være nonchalant er sejr
de der forstoppede sjæle der leder efter en dybere mening
vil blive ordnet sammen med al det andet
hold så op.
hvis der findes et lys
vil det finde

Imminent return … repeat

In a triangle cut out / between two gabled dark roofs / a cloudless sky turns its black back / the night into blue / i open my shuttered crusty windows / to the first of days / where you descend on me / feed me a purpose / a means to move / about and out of doors and gates / with shoulders squared / and a singing want.

At our lips.

What little else can i do / pay tribute to that surge / keep your house clean / lit and swept / your bed ready and full / of novel stairs to unclimb / uncluttered. / Every room willed nominal / in anticipating vacuum for you / me / us / this to enter / and yet every mote of dust / sparkles jubilant / through luminous clear shafts / caressing floorboards.

At our feet.


We are

       hemispheres complemented
       in Aristophanic duality, requiting
like breath

       cycles recycling life, an endless series
       of eternal singular seconds,
like love.

       Insights move in illuminated waves,
       uncoil: fragments of night rubbed out,
like crust

       from our eyes. The inside of my mouth
       – the space feels cavernous with miss,
like today.


Pupa, breathe out

Blink to click

It’s easy feeling unloved.
Shores of home outgrown,
a heart sounds with fear.
Scared in the dark,
self slips out of sight.
Asking me what is left,
I shine a light off-center.
You must blink, let go,
tiptoe the edge of the sword1,
the knife to your head.
A piercing thought:
Jump2. Don’t fall, don’t get cut up,
don’t get caught up.
Washed up on your beach,
you must sheath what pokes.
I signal a way and observe.
Your 1blade is glass,
a beautiful sting.
Fragile, fresh, firing at will.
Your hands dig into the sand,
and waves cling.
You. Are on your own.

(needles my heart, tears dilute blood)

Pupa, breathe in

Click to blink

The busiest boulevard, the warmest bosom, the brightest ride or even the most fortified island, still finds: to nurture a star-studded talent for feeling unloved is easy.

Latter self-imposed confinement by salty waters through distancing shores of homes outgrown and past, hardly silences the menacing sounds of fear the heart creates.

In spite of wanton loneliness, the recluse gets petrified, scared in the dark of light. Though circumscribed by unaltered affection, presumptuous lost love for yourself, slips you out of sight.

What if nothing is left for you to create, in the shadow of that yearning for light, your silence asks. I only lick a stamp and say: remember not to stare directly into it, let it hit your retina from an angle, off-center


make as if it’s not there, though you want it badly. It’ll materialize, find you. Just let go. Focus, balance that edge of the sword1, tiptoe to the tip. Jump2.

Don’t fall to either side.

Don’t get cut up.

Don’t get caught up.

1Embedded in your head, that knife was born there with you, it will stay, stuck. Put there when you were not even an ovule. Then conceived, like a piercing thought, without a thought.

And as you will wash up on your own inevitable beaches you will need to sheath what pokes out through your crisp frontal lobe. 2 Learn.

From the cliff I observe the horses hair and call down, signal to let you know the way to the lighthouse.

Realize your blade is glass, brittle crystal, zinging with its own opaque and beautiful slippery sting, seeming fragile, so fresh from its myelin womb, electrified synapses firing at will.

And you, we, I? Will come to understand your struggle — dig your hands deep into sharp soggy sands, waves snapping their dark fangs at your tiny feet, assisting your beach to cling to you, and

that you. Are on your own

(tm demands from others like needles to my heart. tears trying to dilute and wash my blood)

evanescent departure


what triggered revisiting undemanding snowy childhood holidays of solitary peace tiptoeing through sleepy lucid luminous rooms alone in soaring fantasies of innocent stories scenes songs (little knowing what desires they would later feed or lead to) subverting my days of dreams high and free free free free forever six, empty disregard of the inevitable return of the looming ritualistic lockdown-days ahead, with growing detest of incomprehensible dogma, is this. insight: this search never stops.

Carl Sandburg’s “Chicago” translated into danish with love, respect and awe.                  And then some.

Up till then my acquaintance with Mr. Sandburg seemed as minuscule as those cars milling by down there like ants at the foot of what then still was respectfully called The Sears Tower. Since then a new tenant has gained the right to deface it by sticking its name to the façade and title. It is now known as The Willis Tower and that only makes sense when it rains, because then it’s wet. The building is still a good symbol for the only line I by then had heard of Sandburg’s poem though: “big shoulders”. On the skydeck at the top of that majestic skyscraper there were a few more lines of the poem and in the following years I collected more lines and I learned what that poem ment to the city and its citizens. When I read it, I get it. I can see, feel and smell Chicago in those lines, I recognize the smiles and I hear the demeanor of its voice. I am very lucky that it welcomes me over and over again. Because I love it. It makes me feel at home.

Being half-bred by a german and a Dane and brought up literally on and around the border of those two nations, makes me belong to a minority in both places always and forever and because of that I like to think that I possess an inherent duality when it comes to, not only the languages, but also in my sense of nationality. The soil of my childhood has my principal pride but the geography of my soul has been taught to be tolerant of others, accepting of differences and sensitive to the bigotry of xenophobia for more or less the same reasons. As all that background to my essential integrity slowly decays in contemporary danish culture, idiocy becoming standard, intellect rendered duller by the second and politics growing backwards to the standards of the Europe of 1940’s,  Chicago steps in with new lessons for me to learn. I travel far just to find myself. For that I’d like to express my gratitude towards this new city-home of mine, where diversity is a virtue and a means to an end rather than a source of discontent and fear, by taking Sandburgs words to one of my mother tongues.

Maybe there’s hope for rotten Denmark. Maybe one day it’ll reconcile with its dwarfishness, realize the sun outside the cave and maybe find a gentle giants shoulders to climb. Maybe this 100-year-old poem can’t be understood by a Dane that hasn’t traveled. Maybe I’ll translate it to german then.

Du slagter af svin til verden,
værktøjsmager, ophober af hvede,
jernbanens hersker og mellemmand for Amerikas gods.
Du urolige, hæse, larmende
by af brede skuldre.
De fortæller mig, at du er ond, og jeg tror dem,
for jeg har set dine letkøbte kvinder lokke bonderøvene under gadens lys.
Og de fortæller mig, at du er uærlig, og jeg svarer:
Ja, det er rigtigt, for jeg har set dine pistolmænd dræbe
bare for at gå fri og dræbe igen.
Og de fortæller mig, at du er brutal og mit svar er:
På ansigterne af kvinder og børn
genkender jeg de mærker din hensynsløse sult efterlader.
Og efter at have svaret således vender jeg mig atter en gang mod dem
der vrænger af denne min by, vrænger tilbage og siger til dem:
Kom an og vis mig bare én anden by der med løftet hoved synger så stolt
over at være i live og så rå og så stærk og så snedig.
Som kaster sine magnetiske forbandelser i grams,
midt i sliddet af job efter job.
Høj, dristig og hårdtslående har du her en fighter
i lysende kontrast til de små bløde byer;
Glubsk som en hund med tungen ud af halsen, slubrer du efter handling,
snedig som en vildmand der kæmper mod ødemarken,
skovler du,
du bryder op,
du planlægger,
du bygger, river ned, genopbygger.
Under røgen med støv i hele fjæset, ler du med hvide tænder.
Under skæbnens frygtelige byrde, griner du som kun en ung mand griner.
Latter som kun en uvidende slagsbroder griner, der aldrig har tabt en kamp,
skrydende og grinende, fordi under hans håndled er der stadig en puls
og under hans ribben banker folkets hjerte,
Du griner ungdommens urolige, hæse, larmende grin.
Halvnøgen, svedende
og stolt af at være slagter af svin, værktøjsmager, hvedens ophober,
jernbanernes hersker og mellemmand for Amerikas gods.