Monochrome 73
2012, 73 secs. loop

With Monochrome 73 / Monochrome 64 (two almost identical versions of the same film, one filmed on super 8, the other digitally on a canon D7), I wanted to create a simple film exploring basic form in relation to the human body. The work approaches a dialectic form , where each image, to an extend, relies on the previous.
On one hand the work is very minimal but at the same time the use of body paint gives it a certain theatrical feel, where the simple geometric shapes become ornamental, juxtaposed with the nearly static and naked female body.

Growing up in the 70s, the film very much relies on my childhood's television aesthetics - both danish children television and the more educational sesame street films, teaching geometry for kids. The simple soundscape, consisting of two notes played repeatedly on the guitar, similarly explores this childhood notion whilst accentuating the minimal and the monotone in a monochrome set-up.

untitled 2
(2012)

The two films are looped stop motion animations , both made in a similar way with pen drawn directly onto the subjects face and upper part of the body - either loosely following the persons own contours or lines, or in a more controlled manner mimicking basic geometry and the simple act of drawing, mapping or mark making. Similarly I wanted to explore notions of the divine as well as the ritual use of body decorations.

About me

Film and video artist, living and working in Copenhagen. Educated from The Royal Danish Academy of fine art (MA visual arts), and from Middlesex University in London (BA hons fine art).

My works often attempt to explore the illogic of dreams and the unconscious. I prefer surreal fragmented narratives as oppose to traditional cinematic storytelling. Film for me becomes a tool for exploring the logic and the poetics of the image. I often include elements of animation in my work. Animation, with it's ability to make the inanimate come alive, and make the hidden apparent, almost have an alchemistic quality and thus it encompasses everything magic, oscure and un?
That quality attracts me.
I am similarly seduced by everything theatrical: the gestures and melancholy of early silent film, in particular, and all sorts of work that deals with unrealistic aesthetics, masks and dressing up in weird costumes.
I often work in a formal, minimal language, but strangely I feel informed by all the opposites.