Some of the paper works are coloured and framed. Others are larger installations such as one to one copies of stairs and ladders made out of thin white paper. These works derive from earlier pieces such as ‘Bridge’ and ‘Still Life’. They deal with dreams and the impossible. But the stairs and ladders represent a more fragile and almost sublime form. The trashy style in earlier works has developed into a more precise aesthetics. These works exist in the gap between the recognizable everyday object and the fragile and spherical condition and material in which they appear. The whiteness, the ideal pure copy of something real as well as the vertical direction coherent in most of my paper works, could also indicate the aspect of something platonic or religious. Another returning theme in my work is the reinterpretation of classical fairy tales associated with a more general interest
in memory in connection to childhood. This theme is also present in ‘Crossing’, ‘Castle’, and ‘Jukebox’ which are examples of playful performances that exist in the lost land of childhood - between dream and reality. It is in this meeting or confrontation of these two conditions, in a kind of utopian embodiment, that these works become alive, often in a tragicomic way.
A continual figure in my earlier performances and later drawings is ‘The Dying Swan’, who can be described as a hybrid between ‘The Ugly Duckling’ and
a human figure. ‘The Dying Swan’ reveals different layers of identity, and often he strives at being somebody or somewhere else or tries to achieve the impossible.
He is, however, always confronted with reality and failure. In his interaction and power play with the audience his physical presence often creates an intense and uncomfortable atmosphere. In the drawings ‘The Dying Swan’ creates his own universe, where he seems to be trapped in impossible situations and circles, dealing with death, rebirth, self- creation, and self-destruction.
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