EMBODIED INFRASTRUCTURE
Lynette
2024
VIDEO ARTWORK OF COLLECTED ONLINE MATERIAL
12:45 MIN
Lynette is a video artwork inspired by Lynetteholmen, a massive infrastructural project situated on the edge of Copenhagen Harbor. The piece takes the form of a video essay composed of material collected online. Lynetteholmen, an ambitious artificial island, promises to redefine the city’s skyline, accommodate thousands of residents, and cost billions. However, it is not without controversy, sparking heated debates and public demonstrations. Against the backdrop of global infrastructural expansions motivated by climate change concerns, this video essay examines the paradox of such projects. While they claim to address environmental crises, they often contribute to those very challenges. The artwork positions Lynetteholmen as a symbol of the intricate and fraught relationship between human progress and the environmental challenges it seeks to overcome.
“As Lynette is tangled with the future of the human-nature relationship, she is condemning resolution luring, like many other big infrastructural projects, with sustainability and a future green utopia, leading to a doomed understanding and prevalence between artifice and naturality.” – a quote from the videoessay.
Lynette also evolved into a book project, taking on different forms throughout its development. The book consists of an 80-page essay reflecting on the potential structures of Lynetteholmen and the broader implications of the project. The second half of the book includes imagery from the video work, creating a dialogue between text and visuals. Designed to mimic a screen, the book becomes a medium for exploring the project’s dualities in a more critical and concise manner. Flipping through the pages of images and screenshots creates an illusion of moving images, but also provides readers the time to absorb the dense information conveyed in each image.
Architecture of Access
2025 - ongoing
AN INSTALLATION MADE FROM POLYESTER QUEUING BANNERS, QUEUING STANCHIONS, AND A MONITOR. VIDEO: 04:00 MIN.
Architecture of Access examines contemporary inequality and the exploitation of queuing through observation and theoretical critique. This interactive installation, scheduled to be shown at Kunsthal Aarhus from April 25 to May 25, 2025, is composed of commercially produced queue barriers with printed ribbons. The ribbons, stretching from wall to wall, invite spectators to navigate through the space. Black-on-white text, drawn from various queuing manuals, will be printed on the ribbons. Queuing is a global phenomenon. Ubiquitous and unavoidable. People queue for everything: toilets, water, new sneakers, gallery openings, visas, airplanes, and more. At its core, the system of “first come, first served” is designed to ensure fairness. Yet the reasons for queuing often expose profound inequities. People queue to save lives by accessing food rations, while others push and shove for the latest PlayStation. For some, queues are instruments of power; for others, they are a symbol of equality. To most, however, queuing is simply an annoying waste of time. The project interrogates the reasoning behind queuing and its inherent contradictions while reflecting on the basic act of waiting in line.
“It thrives on anonymity, where faces blur into a mass of silent patience or simmering frustration. But no matter how orderly, it is always shadowed by the potential for chaos, resentment, and collapse. … a manifestation of scarcity and inequality, exposing the fault lines of resource allocation in society. If the system reaches an equilibrium, the probability vector is independent of the initial state, erasing all history of how it started. A great equalizer.”
– examples of quotes printed on the banners.
SCREEN CAPTURES OF THE VIDEO IN THE INSTALLATION.
SPORE OP
2025 - ongoing
FIVE INSTALLATIONS OF COLLECT-ED STONES MOUNTED ON WHITE WALLS WITH VINYL TITLES. 2025 - ONGOINGSPORE OP! WAS SHOWN AS A SOLO EXHIBITION AT RUM46 IN AARHUS.SHOWING FROM 19TH OF FEBRUARY TO 8TH OF MARCH 2025.
SPORE OP is an installation comprising five artworks:
Søndag d. 07.06.2020, 55.69491,12.5837–55.676618,12.581201.
Lørdag d. 05.12.2020, 55.67378,12.57888–55.676618,12.581201
Lørdag d. 27.02.2022, 55.68272,12.59346–55.69428,12.58591.
Søndag d. 30.10.2022, 55.67315,12.57271–55.676618,12.581201.
Søndag d. 22.10.2023, 55.69977,12.54247–55.676618,12.581201
The titles reference specific dates and coordinates along routes walked during Denmark’s five largest demonstrations since 2020. The artworks are created from stones collected along these protest paths. Mounted on the exhibition walls alongside the corresponding dates and coordinates, the stones serve as both memory and evidence. The project explores the power of collective action and how it has shifted over time. While demonstrations were once pivotal moments of civil resistance, their impact in Denmark has waned. Fewer people take to the streets, and protests no longer carry the same historical weight. This work highlights the importance of protest as a democratic right and a form of resistance that deserves renewed attention and appreciation. The stones, gathered from these routes, embody both memory and evidence. They map not the protests themselves but the cityscapes that hold the imprint of resistance. They are silent witnesses to the struggles that shape a state and its people.
dOCUMENTATION FROM SPORE UP EXHIBITION AT RUM46, AARHUS, 2025 DOCUMENTATION CLOSE UP FROM SPORE UP EXHIBITION AT RUM46, AARHUS, 2025
DOCUMENTATION FROM OUTSIDE SPORE UP EXHIBITION AT RUM46, AARHUS, 2025
DOCUMENTATION OF CATALOGUEFROM THE EXHIBITION SPORE OP, AARHUS, 2025
SCOLDED BY SCHOOLING
Swallowing a pill to dissolve the capsule
2025
INSTALLATION MADE OF PRINTED PAPER AND DIGITALLY REDACTED PDFS
Swallowing a Pill to Dissolve the Capsule is an installation comprised primarily of paper. At its center hangs a giant document, presented in a classic word format. The text on the document is written in academic language and framing, yet it doesn’t make sense. Surrounding the document are dozens of printed PDF files. While their titles, authors, and publication details are visible, the body text of each file has been redacted with thick black marker. Everything in the piece feels like a form of mimicry and mockery of a discipline. The texts focus on radical or rather, new in ways of exhibiting, yet they all adhere to an academic style of writing. They use the same language as the central document, making their arguments for the exhibition space and the exhibiting artist. The work nods to conversations about censorship, schooling, curriculums within the arts, and the role of the art student as an exhibitor. It becomes a cosplaying entity, as the piece was presented in connection with a Rundgang exhibition at Det Jyske Kunstakademi. It pretends to create a fake chaos of documents, reproducing the academic structures that have become apparent in many art academies. At the same time, it questions their authenticity and their intentions for the evolution of art education - or at least, I hope it does.
“It thrives on anonymity, where faces blur into a mass of silent patience or simmering frustration. But no matter how orderly, it is always shadowed by the potential for chaos, resentment, and collapse. … a manifestation of scarcity and inequality, exposing the fault lines of resource allocation in society. If the system reaches an equilibrium, the probability vector is independent of the initial state, erasing all history of how it started. A great equalizer.”
A capsule with all I need
to know
2025
ARTWORK MADE FROM A GELATIN CAPSULE WITH A MINIATURE PRINTED PDF ROLLED UP INSIDE
A Capsule with All I Need to Know is part of the same project as Swallowing a Pill to Dissolve the Capsule. The artwork consists of small gelatin capsules, each filled with miniature, printed versions of PDF texts from a semester at Det Jyske Kunstakademi, specifically from the course titled Undergang. The capsules encapsulate knowledge, both literally and metaphorically, reflecting on how information is consumed, stored, and understood. By compressing an entire semester’s worth of material into these tiny, nearly inaccessible forms, the work questions the value of knowledge when it is abstracted to the point of being out of reach. It plays with ideas of condensation, academic overload, and the absurdity of attempting to contain everything one “needs to know” in such a fleeting, fragile vessel.
“It thrives on anonymity, where faces blur into a mass of silent patience or simmering frustration. But no matter how orderly, it is always shadowed by the potential for chaos, resentment, and collapse. … a manifestation of scarcity and inequality, exposing the fault lines of resource allocation in society. If the system reaches an equilibrium, the probability vector is independent of the initial state, erasing all history of how it started. A great equalizer.”
DOCUMENTATION IMAGES OF THE INSTALLATION OF SWALLOWING A PILL TO DISSOLVE A CAPSULE AT RUNDGANG, DET JYSKE KUNSTAKA-DEMI, 2025.
DOCUMENTATION OF A CLOSEUP OF A CAPSULE WITH ALL I NEED TO KNOW, 2025
DOCUMENTATION OF A CAPSULE WITH ALL I NEED TO KNOW, 2025
PLAMAGE
2019
AN INSTALLATION MADE FROM COL-LECTED STONES AROUND COPENHAGEN.
Plamage is an installation composed of collected stones arranged into a seamless structure affixed to the walls of the exhibition space. Suspended elements cre-ate a spatial effect, enveloping the viewer in a mosaic of pebbles. These stones, collected from Copenhagen’s city center, transcend their mundane origins to reflect on contemporary society’s relationship with the natural and the artificial.
By elevating these overlooked objects, the installation repositions stones as active participants in our urban narratives. Plamage invites viewers to reflect on the essential, yet often invisible role stones play in shaping our cityscapes, prompting a reexamination of their value and significance.
LIQUID GRANITE
2019
A SCULPTURE MADE FROM GRANITE CLAY, STEEL, AND A ROCK.
Liquid granite is a sculpture that consists of metal, granite clay, and a piece of granite. The sculpture has been covered in latex to preserve its appearance. The sculpture was created in an examination of how to manipulate the understanding of very defined materials such as stone and rocks. In the same process as the sculpture Subsequent Calcium Remnants, this sculpture is inspired by stalagmites in cave systems. Created in a process of intertwining science, art, and history,
Liquid Granite is a simple sculpture whose focus is the materials it consists of. The artwork intends to invite guests to ponder the consistency and definition of stones. The sculpture, a twist of metal and granite, whispers tales of ancient rocks and contemporary arti-fice. Latex hugging the fake granite makes it compete for longevity. Standing at human height and facing the spectator, Liquid Granite invites contemplation on the consistency and definition of stones, as if inviting a dialogue between art and the observer.
SUBSEQUENT CALCIUM REMNANTS
2021
A SERIES OF THREE SCULPTURES MADE FROM PARAFFIN, CONSTRUC-TION TUBES, AND VARIOUS FOUND OBJECTS.
Subsequent Calcium Remnants consists of three sculptures crafted from mixed media, evoking the grandness of subterranean cave formations. Inspired by
stalagmites, the sculptures celebrate the geological processes that shape Earth’s history while reflecting on humanity’s influence during the Anthropocene.
Using artificial materials, these works offer a contemporary take on geology, serving as both homage and critique. Capable of being set ablaze to release ethereal toxins, the sculptures underscore the pre-carious balance between nature and human intervention, a reminder of the delicate relationship between artifice and the natural world.
DOCUMENTATION OF PLAMAGE FROM AN EXHIBITION AT KØBENHAVNS KUNSTSKOLE, 2019. CLOSE-UP DOCUMENTATION FROM AN EXHIBITION AT KØBENHAVNS KUNSTSKOLE, 2019.
DOCUMENTATION OF THE THREE SCULPTURES IN SUBSE-QUENT CALCIUM REMNANTS, 2021. DOCUMENTATION OF THE THREE SCULPTURES IN SUBSE-QUENT CALCIUM REMNANTS, 2021
BEECH BLEACHED MIMICRY
2022
INSTALLATION MADE OF PLASTIC PRINTS, HUNG IN PLASTIC-MOLDED POSTER FRAMES.
The artwork consists of four hanging plastic prints mounted on molded plastic poster frames. These frames replicate found branches from a present-day Danish beech forest, now transformed into plastic. The prints themselves layer seven images ofsourced photos and paintings of beech forests shared online over the last decade. Among these are depictions of Danish landscapes and forests painted during the Danish Golden Age.
The artwork weaves together concepts reshaping our understanding of Danish nature. It compares how landscapes, specifically beech forests, have been represented in artworks across historical periods. The beech tree, Denmark’s most common, is present in forests across the country but is not native. It was introduced around 1500 BC, a relatively recent arrival by tree standards. In the 18th century, “Orderly Forestry” transformed Denmark’s forests into rapidly planted resources to support the nation’s fleet and wood industries. Today, only 14% of Denmark is covered by forest, nearly all of it hu-man-planted.
The beech carries a complex history not as glorious or dignified as we might assume. It has ties to Denmark’s darkest periods while symbolizing freedom and democracy. This duality invites a rethinking of the tree’s legacy. The landscapes depicted in art have often been manipulated, either by society’s interventions or the artist’s hand. In the 21st century, we no longer depict untouched nature (defined as free from human impact); we portray culture. How does this evolving cultural view of nature intersect with consumerism, artificial technologies, and shifting perceptions of naturalness?
DOCUMENTATION IMAGE OF THE IN-STALLMENT OF THE ARTWORK, 2022
DOCUMENTATION IMAGE OF THE IN-STALLMENT OF THE ARTWORK, 2022
DOCUMENTATION IMAGES FROM THE MUNICIPALI-TY OF AARHUS, THE EXHIBITION KLOKKEN RINGER IND, 2023 CLOSE-UP DOCUMENTATION OF THE INSTALLATION FROM THE MUNICIPALITY OF AARHUS, THE EXHIBI-TION KLOKKEN RINGER IND, 2023
SCREEN CAPTURE FROM THE VIDEO ARTWORK, SHOWN AT AARHUS MUNICIPALITY, 2023. SCREEN CAPTURE FROM THE VIDEO ARTWORK, SHOWN AT AARHUS MUNICIPALITY, 2023
PRANGENDE PLASTIK PARADOKSER
2023
AN INSTALLATION COMPRISED OF PRINTED FABRIC ON STRETCHER BARS, A FABRIC CARPET, FAKE FLOWERS IN EPOXY, AND FOUR SCULPTURES MADE OF CLAY AND PLASTIC.
This installation was showcased at Aarhus Municipality in 2023. It features configured maps created by Aarhus Municipality, illustrating green routes throughout the city. Fabric panels display printed collages sourced from municipal documents and Instagram representations of the same areas. On the floor, small sculptures of plastic flowers wrapped in images of green grass (gathered from various sources) add another layer.
The artwork explores the symbolism of artificial expressions of nature. Flowers, as symbols of love and life, are reimagined here as plastic creations, mimicking nature while enduring far longer than their real counterparts. The installation raises questions: do these artificial representations signify a future shaped by human ingenuity or relics of an industrial past?
The plastic flower, presented as a decorative object, becomes a vehicle for reflection on our innate need for nature and the ways we manipulate perceptions of naturalness. It invites viewers to consider the evolving relationship between humanity and the environment in an age of industrialized production.
CONTEMPLATING THE GREENRING
2023
A VIDEO ARTWORK ON THE BACK-DROP OF PRANGENDE PLASTIK PARADOKSER. 08:18 MIN,
This video artwork unfolds against the architecture of Aarhus Municipality in May 2023, featuring a performance within Prangende Plastik Paradokser. During the performance, the artist whistles contemplatively while a speech from the Constitutional Ceremony echoes through the space. Figures move through the bustling traffic hall, seemingly unaware of the ongoing performance.
A scrolling text, formatted as a virtual PowerPoint, explains scenes and motivations, referencing Aarhus’ green initiatives and their constructed facades. Aarhus’ Green Ring, a public green space initiative, signals environmental progress, but the work questions its transparency. Are these green initiatives solutions, or do they obscure deeper environmental concerns?
The artwork also critiques mapping as a tool of power, suggesting that city maps, while guiding us, can manipulate perceptions. Through these explorations, the artwork invites reflection on the intersections of urban development, nature, and societal power dynamics.
MYRIAD OF MYCELIA
2021
ARTWORKS MADE FROM METAL, PLASTIC, PAINT, CARDBOARD, PARAFFIN, FOUND OBJECTS, MILK, TRANSLUCENT PAINT.SOLO EXHIBITON IN BUNKEREN, AARHUS, DENMARK
Myriad of Mycelia was an exhibition stemming from research into natural and organic processes within urban spaces.
What is natural in the city?
What grows independently of human intervention? What unintended natural spaces do we create?
The discovery of a bunker at Graven, a human-made silence allowing nature to flourish, served as the foundation for the work. Inside, mushrooms, mycelia, stalactites, and spiders formed organic systems. The exhibition frames these natural processes within a bold, DIY aesthetic. Fake stalactites of cement, neon clay mushrooms, plastic flowers, and blinking Christmas lights are juxtaposed with the rawness of the bunker.
By embracing kitsch and artifice, the installation highlights humanity’s role in shaping and recreating nature. It questions our attempts to control natural processes while acknowledging the tension between artificiality and organic growth. The work suggests that the most authentic experiences of nature may arise in the spaces where the unnatural is most evident.
DOCUMENTATION IMAGES FROM THE EXHIBITION INSIDE THE BUNKER. CLOSE-UP DOCUMENTATION OF SUBSEQUENT CALCIUM REMNANTS. CLOSE-UP DOCUMENTATION OF GIANT CALCITE STALAGMITE. DOCUMENTATION FROM THE EXHIBITION OUTSIDE THE BUNKER.DOCUMENTATION OF THE POSTERFOR THE EXHIBITION THE 11TH OFDECEMBER 2021
DISSECTING THE DECEASED
2024
THREE VIDEO ARTWORKS CREATED FROM PERSONAL ARCHIVAL DOCUMENTATION AND BORROWED ONLINE MATERIAL. 3 X 03:45 MIN, PLAYED SIMULTANEOUSLY.
Three video works, each 3:45 minutes long, are displayed side by side on monitors, placed on a table. These videos document the dissection of previous artworks that no longer exist in their original form. Each piece follows the same compositional structure, breaking down the artworks into references, embedded reflections, and interpretations.
The dissection process “destroys” the works in a way that makes their original, intentional form irretrievable. The pieces were never independent entities to begin with and now exist solely as fragments of analysis. Drawing inspiration from video and deconstruction traditions, as seen in Camille Henrot’s Grosse Fatigue and TV Dante, the project explores the act of dismantling art to understand its layers while questioning the permanence of artistic intention.
