As a child, my favourite pastime was to sit in nature and stare into the minuscule details of plants, rocks and animals. This visual and tactile information created a whole universe that seemed to belong to no one but me. Nature became my best friend.
The rest of the time, I would doodle on pretty much everything; walls, carpets, pets... Sometimes it was shapes of people, cars or birthday cake but mostly it was what was inside my head; scribbles that were my own representation of elements seen in nature.
I grew up and discovered the magic of video, arcade and, later, computer games where anything was possible. In retrospect, this was probably my second big visual influence.
In the early 80's, I went to art school followed by studies in art history, Japanese and calligraphy. My own art reflected my education. I got married and had a daughter. Time flew and so did my inspiration. The work I did felt stale somehow. It didn’t excite me. I quit painting.
After about 14 years of turning my back to (but constantly thinking of) creating art, I picked up the brush again. I wanted to reach the same state of mind as I had when I was little, staring into nature. The early pieces shared a repeated pattern. It soon became clear that it looked like birch tree bark - perhaps I was missing the Swedish forests of my childhood. I was delighted I could find that place in my head again where nothing else but paying attention to executing the inner sight mattered. I continued to paint.
Later on I saw that sometimes something like a mystical diagram had formed, looking like graphic notations of colour and light, grids and fields, spinal form, life, growth. Abstract yet readable. Like something found in esoteric literature or colour theory, a dynamic of energies and forces or a computer generated grid. Also, curiously, nearly always there was a bit “out of order”, nothing ever perfect.
My childhood state of mind, one of joy and wonder, started to take possession of me through the means of my imagination in a way that enabled me to be a very different artist to the one I was taught to be.
I continue to work instinctively and intuitively and have to keep an empty mind when creating at all cost. Any thoughts that fly in halt the process completely. Sometimes, something from the past seen, or subconsciously noticed, worms through to remind me of a moment, travel, a sound, a smell, a flash of sun on a breaking wave… all beautiful but interfering with the piece I am working on. My mind starts buzzing, my hand stops creating and the whole process is kaput.
I see gold and silver - once reserved for deities, saints and royalty - a fitting representation of nature. Their shine and fragility offer a divine background that glows through the grids and patterns. Perhaps eternal, long after the patterns have faded and we have gone.
I paint not the created thing but forces that created it. A base colour or two represent nature. The overlaying patterns show how we as humans leave traces in form of tracks or energy, good and evil.
Lately, I have created images that contain binary code, numbers or mathematical formulas. Some of them are quite dark, reflecting the power of algorithms and the potential malice of data in the wrong hands.
Physics/Art Skills Swap Shop, University of Bath, UK, May 2019 http://blogs.bath.ac.uk/publicengagement/2019/05/29/many-hands-make-light-work-a-skill-swap-shop-between-physics-researchers-and-artists/
Japanese, Hokkaido Tokai University, Sapporo, Japan 1992
Calligraphy under Hiroko Kimura, Stockholm University, Sweden 1990-1992
Japanese, Stockholm University, Sweden 1990-1992
History of Art, Stockholm University, Sweden 1986-1988
Fine Art, Stockholms Konstskola (Stockholm Art School), Sweden 1984-1986
2020 Material World, 44AD Associates Annual Exhibition (9/1-26/1).
2019 Element 5, 44AD Printmaking Exhibition (13-19/5).
2019 Alter Ego, 44AD Associates Annual Exhibition where my collage "Flesh and Blood" was chosen for the promotional poster (7/1 - 19/1).
2018 Bath Royal Scientific and Literary Institution (BRLSI), Member’s Art Exhibition (21/3-12/4).
2018 - Present - 44AD, Associate Member
2015 - Present - Penwith Society of Artists, Associate Member
2006 Participant, Cambridge Open Studios