Research Catalogue

In this exposition I invite you to reflect on a part of my artistic research: the screen capture. The aim is to reconsider this little-explored practice by artistically transforming original images through a double variations in post-production. In this artistic research I also use experimental software and unconventional methods to carry out images from videogames. At the same time these methods engage with the European regulations about copyright and American fair use policies. While the extraction of images from three-dimensional, copyright-protected spaces is often restricted, it can sometimes be permitted when used creatively.

What is OASIS? Does it have a spiritual dimension,or is it something temporal that is shaped by social relationships and achieved collectively? It is about the collective, inclusion, a place of relaxation? Does it have to be about proximity between people or a total isolation in a safe domestic environment and introspection? What happens if, within our social fragility, we leave our personal oasis and enter the public realm, where we are exposed under the gaze of others? If we decide to carry with us , even if it means symbolically , our personal domestic objects that make us feel secure and present , as a shield against the uncertainty of the outside world? Is this the answer?

This performance seeks to form visually narratives about gender fluidity, identity, vulnerability, and the sense of the fragmented self in this fast changing world monitored by cameras, frames and the feeling that we are constantly observed . Body is the main research tool, a moving diary. On its surface are imprinted all the stories, desires and fears experienced during the years. They are collected, and then, interpreted kinetically, blurring the boundaries between the material reality, and the reality of the unspoken. A keeper of all the intimate and domestic moments, trying to protect them from the external world. In this journey, Camera obscura is a companion and an opponent.

This exposition presents a practice-based research investigation into pattern formation using ASCII and Unicode character systems as primary visual material. Working exclusively within live text environments, the project explores how complex visual and architectural structures emerge from rule-based constraints, repetition, and minimal computational resources. Treating text not as language but as material, the work examines generative logic, duration, and modularity as foundations for sustainable, post-material visual research.

Topographies of the Obsolete is an artistic research project conceived in 2012 by
 University of Bergen Professors Neil Brownsword and Anne Helen Mydland,
in collaboration with six European HEI’s and the British Ceramics Biennial.
Emerging through two phases (2012-15; 2015-2020) it has to date engaged
ninety-seven interdisciplinary artists, scholars, cultural commentators and
students from thirteen countries. It has transformed participants’ practices, with
works originating out of the initial research being celebrated on an international
platform. Topographies of the Obsolete has received funding from a variety of
institutions, alongside its core support from the Norwegian Artistic Research
Programme (2013-15 & 2015-17), whose peer review system (2015) rated it
as ‘exemplary… strengthening artistic research and its scope beyond potential
communities of practitioners/researchers’. The project explores the landscape and associated histories of post-industry, with an initial emphasis on Stoke-on-Trent, a world-renowned ceramics capital that bears evidence of fluctuations in global fortunes.

Olskroksmotet Blues är den avslutande delen i mitt autoetnografiska projekt som pågick i olika former mellan 2014-2021, och där jag bland annat publicerat två artiklar (Kroon 2015 och 2016). RC expositionen består av tre delarbeten - arkivblad, arkivmönster och göteborg grid – jämte bakgrund och teori & metod. Utifrån min historia som fosterbarn söker jag fånga såväl mina egna erfarenheter och uttryck, som att sätta dessa i ljuset av större samhälleliga skeenden. Olskroksmotet Blues var också del av Mikrohistoriers fysiska grupputställning på Konstfack, Stockholm i september 2021.