To me, the artistic process is a balancing act and a method for bodily understanding.
It is an introspective process of arriving in my body. To explore how the body feels and functions - what emotions, memories, stories and expressions that are present, day by day. Every day in the studio begins with a ritual to sense and arrive in my body. This takes place through three stages - a meditative body scan to recognize the body, a visual diary through which the contours and emotional expressions of the body is drawn, and at last a body analysis expressed in words. Through this process, I get closer to my body and take a temporary step away from an external gaze.
But being in a body is a constant balancing act; a balance between an internal and an external gaze on belonging, health, emotion, and physical capacity. My view of the body follows a post-structuralist tradition, where a body is never disconnected from its surroundings but constantly transformed and understood through the influence of time and space. The Swedish professor in History of Ideas Karin Johannisson, has stated that nothing in a human is authentic (ingenting i människan är autentiskt); a thought that fascinates me and drives my work forward.
The bodily balancing act follows the artistic process into the act of painting; a process where bodily presence is necessary for the act to take place; a process where my abstract and temporary experience of my own body is mixed with an evaluating, categorizing and perceptively objective external gaze. The result is a fusion of emotions, memories, stories and expressions. Bodies that are in relation to each other and at the same time one.
The bodies within the frames of the canvas are usually depicted in human scale, something that feels important to me in forming a relationship. The bodies exist in clinical environments; environments that create a tension in relation to human flesh and emotion. We meet the clinical environments in hospitals, at the therapist, in the yoga studio, at the gym, and in many institutions with great power over our lives. Together, these poles become representatives of the constant balance between the control and sentiment of humanity.
Important theorists include Michael Foucault, Judith Butler and Karin Johannisson. I see myself belonging to a history of feminist art (and maybe even a more recent queer feminist art history) and my work respectfully builds further on processes commenced by artists like Louise Bourgeois, Sarah Lucas, Jenny Saville, Francis Bacon and Maria Lassnig.