My essay “The Shape of Things to Come” introduces the theme of The Plantation Journal NO.3 entitled “Sculptural photography. More information, and, the journal itself are found here:
“The tittle for this volume of The Plantation is “Sculptural Landscape,” and when you sculpt, you manipulate a material, manipulate it to something recognizable to your own eye, and to the world around the material at hand. And as you sculpt clay, stone, and metal these artists sculpt the landscape through the medium of photography. “
Excerpt from the essay “The Shape of Things to Come”
Part of Vestlandsutstillingen 2015 with the new work A Place of Sun and Magnetism
“All must align for something to happen and appear, destruction and change to further manifest. Planets, people, spaces, and not to forgo, history. We align ourselves with one or more of these forces at multiple points in life, both to orient, and navigate. Alignment is thought to be a state of equilibrium. That which we seek in our everyday life, or that which we escape our lives to achieve. In many ways Land-Art—or Environmental-art—seeks to disrupt this equilibrium, misaligning the spaces so we yet again stand as strange explorer confronted with an expanse of the unknown.”
Opens at Sogn and Fjordane Kunstmuseum, Førde, on January 24th
24.jan-22.feb // SOGN OG FJORDANE KUNSTMUSEUM, FØRDE
7.-29. mars // KUNSTHUSET KABUSO ØYSTESE
10.april – 3.mai // KUNSTMUSEET KUBE, ÅLESUND
8.-31. mai // HAUGESUND KUNST FORENING
12.juni-5.juli // KUNSTHALL STAVANGER
In this thesis, I investigate the life and death of Christopher McCandless, who ventured into the Alaskan wilderness in 1992 and died. McCandless’s story became the subject of Jon Krakauer’s 1996 novel Into the Wild and Sean Penn’s 2007 feature film of the same name. A deeper inquiry demands that we take into account the reverberations of McCandless’s journey in the lives of those who undertake to recreate the original sequence of events that lead to McCandless’s death. Using the followers’ re-creations, I direct my argument towards a framework that is constructed holistically around McCandless’s actions. This preliminary stance leads to a two-folded analysis: First, I leverage the terms wilderness, escapism, belonging, and home to better understand an individual’s relationship to identity formation in the US and the West; second, I assert the actions of McCandless and his followers raise essential philosophical questions concerning the ideas of being, place, and home.
Uten tittel (Mount Everest), 2012, Exhibition view from Haugesund Billedgalleri.
Part of the Vestlandsutstillingen NearFar 2013.
Haugesund Kunstforening, Haugesund: 08.02. – 03.03.
Sogn og Fjordane Kunstmuseum, Førde: 09.03 – 02.04.
Stavanger Kunstforening, Stavanger: 11.04 – 01.05.
Kunsthuset Kabuso, Øystese: 11.05. – 02.06.
Kunstmuseet Kube, Ålesund: 08.06. – 30.06.