Landscapes and portraits have formed a loose spine for my paintings since 2009. In my earlier works I have stressed the themes with focused painting series like The Way Remembering Is and Absence (portrait studies). The painting series About Ida continued my interest in portraiture by scattering one portrait into many paintings. The series was painted in dialogue with Gertrude Stein’s novel Ida and the way Stein uses language and repetition.

With my later paintings, from 2015 and 2016, I took a step towards more intuitive and process based painting. After working with specific starting points I wanted to focus my working process on the painting gestures, the relationship between intentions, intuitive strokes and accidents within the painting process. I have used observations and drawings as my starting points in order to free my working. I wanted to find associations around the painting process and allow room for chance. I connect with the idea of a painting being an object and a document of the time spent with the canvas. Like a conversation, sometimes screamed, sometimes whispered.

In my new works, from 2017, I have been folding the canvas in order to challenge the control over the painting process and the mark making. It continues the act of painting over something and the silencing act towards the painting within the conversation – the working process. One can find reference to the history of questioning the format of painting, but also to clothing, folds of clothing and fabric, to a print that would continue much further than the decided outlines of the works. I experience the act of folding as a gentle action. It brings a sense of physicality to the works. Folds, creases and primitive spray markings create both illusions of space and concrete spaces in the paintings. Spray, arrogant by its nature, acts in a poetic manner from time to time next to the brush strokes.