Artist, Scenographer, Researcher
– tilting our perception of the world as the world tilts with us.
I work across visual arts, scenography, and essayistic writing, creating forms that explore our relationship with transformation and the more-than-human world. My practice emerges from twenty years of designing for major European theatres and a deep curiosity about how we make spatial and visual meaning.
I create installations that hold multiple temporalities, objects that breathe and erode, and writing that weaves intimate experience with larger forces of change.
The work asks: how do we arrange relation between bodies and environments in a time of uncertainty? What forms emerge when we stay present with permeability, with transformation, with a world we can’t control?
Currently pursuing PHD research at Stockholm University of the Arts. Developing new approaches to scenographic thinking and environmental practice.
EXHIBITIONS & INSTALLATIONS
Objects between worlds
I don’t fully experience myself as part of nature, though I obviously am. My sculptures and installations function as attempts at connection—prayers amid corporeal imbalance. The art process itself becomes a practice for navigating the limits and possibilities of knowing the beyond-human world.
Breathing devices, swaddled stones, and slowly eroding vessels operate as devotional technologies—reliquaries of encounters with what exceeds human comprehension. These objects hold multiple temporalities: the mythological, the personal, the astronomical. They propose thresholds, gateways, permeable boundaries between realms.
Since 2008, collaborate occasionally with artist duo Goldin+Senneby. Through scenographic methods, I contribute to the visual and spatial concepts of commissioned works, public projects, and exhibitions including Moderna Museet 2010, Insurgency of Life 2019, and 2025 in Anti Handicap.
NATURE IN SCENOGRAPHY Staged landscapes
Since 2006, I have worked as scenographer and costume designer across major European institutions including Royal Dramatic Theatre Stockholm, Royal Swedish Opera, and Betty Nansen Theatre Copenhagen. This extensive practice has led me to examine how scenography—inherently world-building—always proposes an interpretation of the world it represents, shaping the conditions of relationship between bodies and environments.
The scenographic tradition often stages humans at the center, relegating nature to mere backdrop. My recent work explores how scenography responds when spatial hierarchies collapse and nature can no longer serve as mere backdrop—investigating forms for relationship between human and more-than-human worlds.
Productions that thematically explore nature:
Clouds performance Lecture 2024
WRITING Essays and Academic Texts
Writing is central to my practice and often accompanies my manual thinking. The essayistic form becomes a tool for navigating complex relationships between embodied experience and ecological crisis. Through a poetic, fragmented style, I explore the limits of representation when addressing phenomena that exceed human comprehension—from the intimacy of birth trauma to the vast scales of geological and cosmic time.
My essays weave together personal narrative, philosophical reflection, and material investigation. In Omphalos – The Navel of the World, I examine the ancient Greek oracle stone as both archaeological artifact and metaphor for the hollow spaces where human and beyond-human worlds intersect. This essayistic approach allows me to hold multiple temporalities and scales simultaneously—the mythological, the personal, the astronomical—creating textual spaces that mirror the permeability I seek in my material practice.
Omphalos-The Navel of the World 2025
The Speculative Pilgrim 2025
Shoes 2025
Clouds 2024
PhD ARTISTIC RESEARCH, SKH Omphalos-The Navel of the World
My research explores how we arrange relationships between bodies and environments in a time of ecological uncertainty. Through essays, installations, and spatial practices, I investigate what forms emerge when we stay present with transformation, permeability, and conditions we cannot control.
The work examines how spatial hierarchies that placed humans at the center with nature as backdrop no longer hold. Similarly, the vertical structures that once connected different scales—earth to sky, body to cosmos, personal to planetary—have lost their certainty. When these organizing structures collapse, how do we understand placement?
Through practice-based investigation, I explore forms that acknowledge interconnection and radical mortality. The research asks: How do we maintain relationship between vastly different scales—the intimate and the cosmic—without resorting to outdated models of transcendence or domination? What practices of placement emerge when we accept rather than deny our permeable boundaries?
The project develops through interconnected chapters examining scales of relation: ”Omphalos” investigates the navel as hollow center; subsequent work explores breath, illness, and material transformation.
