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In 2004, I started working on a conceptual sound project called "Dom skulle inte bli gamla" (They would never grow old).
During one a half month I travelled on the subway's red line once a day, rigged with hidden microphones.
At the time, I lived in a tiny flat at a stop called "Hägerstensåsen", but during my years in Stockholm I had lived at several, short term addresses along the red line, so I felt this was the closest to "home" that I had. The aim of the project was to explore the sub terrain along the line, through sound.
What sound fragments would defy the bass heavy, muffled hum of the underground and stick to the tape?
I worked according to a strict conceptual framework where only those defiant "rebel sounds" were to be used in the final piece. The findings were surprising – and this experience has come to completely define all my future processes.
Onwards, my work has consisted of various forms of collage-based constructions and processes derived from journalistic research, field recordings and interviews. The work is re-assembled according to invented, often conceptual, methods and remix aesthetics.
My work is often site-specific, exploring the narrative place & space of my own home environment – whether it being Stockholm (Sweden), South Queensferry (Scotland), Birmingham (England) or Örbyhus in Tierp (Sweden).
This approach is highlighted in “The White Suite” consisting of three text/sound pieces and one video piece, all commissioned between 2004 and 2008 and the "Study of a failed parachute" audio-visual project (2013–2015). “The White Suite” deals with the impact of the westernised, neoliberal system in relation to the city, the human body and society in Sweden and the UK – where I lived at the time. The methods used in these works, actively distorting the material and blurring the line between journalism and art.