PROJECTS (Exhibitions/artworks/series)

Det stora mötet (The Great meeting)
Galleri Sinne, Helsinki

Exhibition views

January - March 2026

The exhibition at Galleri Sinne, a non-profit gallery space in central Helsinki, is made entirely out of elm wood, most of which died from the Dutch Elm Disease. Working towards the exhibition has been a long process where every work was made with this specific exhibition in mind - all of the works are fragments of the same story.

Det stora mötet (The Great meeting), sculpture group

Elm

2024-2025

At the core of the exhibition is a large sculpture group with the same name as the exhibition, Det stora mötet (the great meeting). The work is the result of a long process of carving life sized human figures out of whole logs. The figures acts as vessels for their gaze, and when we stand face to face with them, a feeling of ethical responsibility might arise in us - or if not a sense of being thoroughly observed.

Reliefs from the exhibition Det stora mötet (The great meeting):

Allt dött är mitt och allt mitt är dött, allt ditt är liv och allt liv är ditt (All that is dead is mine and all that is mine is dead, all that is yours is life and all that is life is yours)

Under ursolens heta sken (Under the scorching rays of the primordial sun)

De apofatiska båtbyggarna (The Apophatic Boat Builders)

Ögonbärarna (The Eye Bearers)

Each relief is made of a single piece of elm wood, 150 cm wide and 8 cm thick.

2025

As a first movement toward the exhibition I started a series of drawings (that can be seen further down). These drawings are not sketches but they represent some fundamental thoughts that i would return to during this project.

When I started making these reliefs I reused some subjects from the drawings. It became clear that the reliefs would complement the sculptures through telling a story of a different time than now. A primordial time from where the figures were visiting or maybe an eschatology that followed the results of the meeting.

They deal with rearrangements and additions of the human body, speculative evolutionary theory and the method of boat building through using the same ontological assumptions as negative theology uses for stating that God can only be known through what God is not. Finally Ögonbärarna contains a text that could be seen as a foreword to the exhibition, loosely based on the structure of some ancient greek riddles.

Där vi kommer ifrån och dit vi ska gå

Elm, porcelaine, oil pigment. 195 cm high.

2025

The work is shown in the exhibition Det stora mötet at Galleri Sinne, Helsinki, (without skulls) and has been shown at the Edstrandska grant exhibition, Malmö, and at Market Art Fair, Stockholm

Drawings that were part of the process for the exhibition Det stora mötet
Pencil on paper

2023-2025

Kaveldunsfältet
Ebelingmuseet, Eskilstuna

June - August 2024

The exhibition consisted of three large sculptures made mainly from wood, two works in stoneware and four drawings.

Of the large sculptures, the two presented in the back of the room were strongly related to each other:

Upplös mitt hjärta i floder av tårar (Dissolve My Heart into Rivers of Tears), 2024, ash, elm, European whitebeam, stoneware, rock crystal. 170 cm high.

The head of the sculpture is made of a sand-colored matte clay, while the upper body is draped in a cloak of rotting European whitebeam. The lines of the decay fungi run down the body as the surface meets the grain of the fibers at an increasingly steep angle. The darker boat is made of elm, and the lower part is made from an ash trunk. In the bowl on the head, there are rock crystals that I found myself at an abandoned quarry in Munkedal, Bohuslän. The title of the work comes from an aria in J.S. Bach’s choral work St John Passion.

Varför, du som hatar mig, älskar du mig, och hatar de som älskar mig? (Why, You Who Hate Me, Do You Love Me, and Hate Those Who Love Me?), 2024, elm, juniper, stoneware, porcelain, rock crystal. 170 cm high.

Here, too, the head is made of sand-colored clay, as are the hands. Above the eyes are thin porcelain pins, and one of the hands holds rock crystals. The staff the figure holds, as well as the pointed radiating rods, are made of juniper, while the body is made of elm. The title comes from the approximately 2,000-year-old Gnostic poem “Thunder, Perfect Mind.”

Transsubstantiationer,
Kristinehamns konstmuseum

February - May 2024

Tre former av första tanke (Trimorfisk Protennoia) (Three Forms of First Thought [Trimorphic Protennoia]), 2022, elm, hard wax oil

The exhibition rooms at Kristinehamn Art Museum, where I showed this work, consisted of a larger room and a smaller room that could only be reached through the larger one. Like the choir in a church, the inner room was aligned with the longitudinal axis of the larger room, and the work I present here could already be glimpsed through a doorway from a distance. The piece was placed on a table with a white cloth, reminiscent of an altar. The tripartite nature of the work also refers to the ecclesiastical tradition. The three sculptures that make up the piece are all carved from the same elm trunk from Härnäset in Bohuslän, where I grew up. The elm had succumbed to Dutch elm disease, and in particular in the tallest sculpture, one can see distinct color variations from the decay fungi’s breaking-down process, creating light veils in the wood.