My projects are long-term, and I work with experimental photography, installation, video sculpture and bioart. I am fond of slow analogue and cameraless photo processes because my projects usually take time (years) with research, making field trips, collecting natural materials, learning techniques and going experimental with them. I feel it is important to deepen human interconnectedness to nature through photographic practices and bioart. I have a focus on combining art, scientific methods, bioart and visual research. The themes of my work are histories hidden in and merged with the natural landscape, such as forest soils, meteorite lakes and bog peat. The combination of art and science collaboration and blending it with spiritual thinking and sacred ecology are characteristic features in my work.

2023 – CYAN / Norway

The thematic focus in my work is human nature relationship and appreciation and examination of nature as a combination of magical and interdisciplinary viewpoints. Our connection to nature, nature  conservation and nature mysticism are at the core of my interest. In particular, I am fascinated by the reality claim and agency of a photograph as a revealer, concealer and delimiter of reality. In our Western culture, what nature photographs that focus on aesthetics do not show us, and what nature does not necessarily show to the impatient eye of the busyness of everyday life, is at the heart of my work. Soil has been a big theme in my recent projects. My artistic field trips to forests of nature reserves, meteorite craters and the fells of the Finnish Sámi Land combine my interest in soil and addressing it through photographic representation.

CYAN gallery presented me as I was invited to Nordic Analog Network's Artist in Residence programme at the CYAN Darkroom in Oslo in the spring of 2023. My exhibition works made during the residency included cameraless photos: photograms made with caffenol developer, soil- and forest material chromatographs, chemigrams and lumen prints. My darkroom work was experimental with elements of bioart and a scientific method via soil chromatographs. The process of chemigrams included using a chemical mixture which contained e.g. parts of soil and forest materials such as lichens and moss I collected from the nature around Oslo. For me, the alternative processes in the residency’s darkroom photograms had a certain sense of magic and I sought ways of revealing something invisible, abstract or unknown in nature. Through a series of soil chromatograph prints, fotograms, lumen prints and chemigrams, I looked at both the representation of the subject through abstract visual patterns and interpretable information collected in photographic paper.

2026 – Lademoen Kunstnerverkstad / Norway

I spent September 2026 in a Nordic Analog Network residency in Lademoen Kunstnerverksteder in Trondheim, Norway. For me LKV was a great experience and nice continuation for my Cyan darkroom residency in Oslo from a few years ago. I had the pleasure to work in the unique, friendly and inspirational LKV building in a big project room and a darkroom. Due to the NAN residency I got to continue my work and research with norwegian soils and my practice with analog and slow photography via lumen prints, chemigrams, photo developing, object installation and soil chromatography using local soils and plants. In the darkroom I experimented to develop my old film rolls (which I first dug into the soil to see how the soil “eats” the film) with ecological caffenol and seaweed developers. My main piece was a durational, site specific and ritualistic table installation with expired & light sensitive photo papers and organic materials from Trondheim such as clay, plants, stones, films and liquids. One of the key elements of the residency was to lead a one day soil chromatography workshop at LKV that I really enjoyed having and networking with artists.