Works

One of the hottest days in memory One of the hottest days in memory
2023
Particle Time Keeper Particle Time Keeper
2023
Landeversuch Wilhelmsplatz Landeversuch Wilhelmsplatz
2023
Offen und Alles und Zusammen Offen und Alles und Zusammen
2022
Parent, Child, and the Carbon Spirit Parent, Child, and the Carbon Spirit
2022
Drawings of adaptation, new challenges Drawings of adaptation, new challenges
2022
Gotland 2011 Gotland 2011
2011, 2021
Memory of a Forbidden Place Memory of a Forbidden Place
2010–2021
Attempts to embrace a loved one Attempts to embrace a loved one
ongoing, since 2020
Pandemic Zoom Self Portraits Pandemic Zoom Self Portraits
2020, 2021
Permutations, Variations Permutations, Variations
2020–2021, ongoing
Loving care again and again Loving care again and again
2020
888beginnings 888beginnings
Ongoing
Drawings of adaptation, warm Drawings of adaptation, warm
ongoing
Drawings of adaptation, cold Drawings of adaptation, cold
ongoing
Drawings from a liquified forest Drawings from a liquified forest
2020
Smoke Drawings Smoke Drawings
2020
Small ink drawings Small ink drawings
ongoing
Energy Markings Energy Markings
2020
First Snow. Last Snow. First Snow. Last Snow.
2019-2020
The bridge to everything The bridge to everything
2018–2021
Views Of My Tea Views Of My Tea
2014–2015
Particles of Light Particles of Light
Ongoing
Memory of Black Snow Memory of Black Snow
ONGOING
Aerials Aerials
around 2011–2015 or so
Frankfurt Frankfurt
2011
The Northern Capital The Northern Capital
2011–2014
The Other Window The Other Window
2011–2014
Here now, because you are. Here now, because you are.
ONGOING
One Second. Time, no Space. One Second. Time, no Space.
2003
21:21 21:21
2003
Two Hand Drawings Two Hand Drawings
2002
Camera Lucida Lillies Camera Lucida Lillies
2001
Mona Lisa Visitors Mona Lisa Visitors
2001, 2003
Grown Drawings, Part II Grown Drawings, Part II
1999–2005
Grown Drawings, Part I Grown Drawings, Part I
1999

It all started with drawing. It is all drawing still, somehow. My drawings grow and they intersect. They are an intersection of materials, ideas and moments. My photography and my ceramic work is based on my drawings. All is a growing process somehow started somewhere and then on its way through me and hopefully to you.
I write in a similar way too. A tiny idea or an observation slowly becomes a larger and larger something. Or perhaps a different something. In a way I am simply expressing what goes on in me and through me.
I used to create a division between drawing and photography. It took decades to realise how they are all connected to the same something. Ceramics too. It’s all materials and thoughts and ideas and then more materials and ideas and thoughts. Some of them very old and some of them not even born yet.

Here is the description I previously used for the drawings section of this site:

Many of my drawings generally start with little clusters of information; one could call them nuclei. I place them on a page or canvas and then let the drawing grow from them and around them. Some drawings are finished right where they were started, or months and years later, or never. I can sometimes pick up a little element of an object or impression of it and then transform it into a series of pages while moving to a different place, a different country, from season to season, year to year. Sometimes the nuclei are little snippets of conversations I hear somewhere or maybe elements of advertisements or elements of particles in motion. They can also be design elements of someone’s clothing or just the strokes of the pen against the page caused by a rocking motion of a mode of transportation I happen to be on. The drawings take a certain time to complete and one drawing can take several journeys to find its final form.

All drawings are a dialogue with the consciousness of the planet. They are a meeting point of materials and moments and thoughts. They adapt to circumstances and they grow and change as they need to.

I leave room for the viewer to interpret the interconnectedness of the lines and objects and colors. My work is completed by the viewer and their emotion when they open themselves to the energy of the work.

Originally written in
New York City, November 2002
edited in
London, December 2020


And here is a description of the previous photography section:

When looking into the night sky, we observe the past as overlapping signals. It appears to be one image to us, because we have evolved to see single composed images that have relevance to us, not much else really. But what we are looking at actually are billions of years of particles, rays, and the lack thereof, all near each other, at the same time, visible from our very vantage point. Oh, what an incredible coincidence. They do not just exist. The signals from them, or reflected off them are actually passing right through us, meeting in us, as we stare at whatever we stare. We are on the way somewhere. And so are they. Everything is.

We look back into space and into time without understanding it. The depth of this view is much more profound than we could ever really comprehend. And we can try to grasp the vastness and complexity, but all we will ever understand are derivatives of derivatives of the actual idea, or just tiny fragments of that.

It’s too big for us.

And we do not want to deal with it all anyway.

And that stupendous universe does not only exist when we happen to stare up into the sky. That very same set of overlapping layers is all around us, at all times. We are part of them too. We are part of that gigantic explosion of energy and information, and we are all traveling somewhere, changing, evolving, refining. Everything is.

All of us collectively are part of whatever the universe might currently be doing. We are tiny specks in that awesome system. We are in motion, coming from somewhere and heading somewhere else completely.

And everything, every single thing around us, is also part of that movement, that motion, that transformation. We see layers of particles, and dust, stories, ideas, and information, light, and life and the lack of all of the above. Everything we see is an ever changing interplay of variously aged elements. Everything is of incomprehensible complexity, and profound impermanence. And yet we are animals so simple to just see composite images of it all. And we are not able to understand them as separate, since our intelligence was not evolved for that either. We only see what matters to us, at that very moment.

We are quite good at simplification and ignorance. We need to be.

And so what we imagine to see are variations of people like us, living things, and landscapes, and cities, and the sky. Stuff. We see stuff that was there before, and we see stuff that was somehow created by someone, or somehow. We perceive all this and imagine it as its end state, but everything around us is actually in the midst of becoming something completely different, of course.

To us, some stuff matters more than other stuff. We ignore what doesn’t matter. And we need to do that too.

And that’s how we keep shaping our world too: in simplification and blindness and ignorance to most of the complexities of the larger overlapping layers. That’s how a lot of creation is possible, but that’s also how a lot of destruction is just accepted, permitted, forgiven.

The images here are a collection of glimpses into that incredibly complex transient universe around us. Some of the viewers will find just a few of them of any value. Some will find them all completely irrelevant. And that opinion will also shift over time.

Someone out there might be able to enjoy the invisible layers of the moments observed here. It will be a happy coincidence when that person discovers what is being presented here.

It is a set of layers, assembled into new ones, physical or less so, in a constant motion towads something completely different.

Yet how lucky it is that we are here, and how lucky that we can meet.

Now.

And here.

Hi. Hello.

Beijing, April 2014