The uncompromised expression

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 When I am working with my art – or anything creative – I am only interested in finding powerful and strong expressions.  I always start with the eyes – if there’s no genuine expression in the eyes or if they lack intensity, I won’t finish that piece and I just move on to another project. As soon as I start to compromise my vision, I end up feeling lost –  and when the creativity turns into a struggle I lose the joy of being part of it. Sometimes it feels like starting a new painting on a blank canvas is like taming a beast (the canvas being the beast  of ‘nothingness’ or something dead and empty).

I’ve always disliked a blank space – especially an empty white space. My desire is to fill the void, to make an expression, a statement, to tell a story and to create meaning where there seems to be no meaning at all. perhaps that’s why I like to fill the white canvas with a dark background. The darkness can hold all kinds of secrets within that black space – but something all white -without any hope of details inside, really creeps me out.

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My art is extremely personal and even though I don’t use my own face in my Lolita demons, they are all part of me and my fears, my rage, my pain and my inner voice. They are all self portraits in a way.

Sperm Wounds is my rage, Scrollan is an expression of  the helplessness I’ve felt in my past, Stigmata is about my physical hell.

The stories I share in my art, lays in the emotional expressions of my demons –  especially visible in the eyes, smile and body language. The portraits are simple in the compositions, there aren’t many details in the background, if any at all. But if you make eye contact with the characters, you will find endless shades of emotions and details in there.

Detail of Fire Head

Detail of Fire Head

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Through my stories and artistic expression, you get to share my emotions and the memories of humiliation, sadness and horror – and what it’s like to be a human soul in a world where heaven and hell are both centered inside our minds and hearts – and also outside ourselves.

In every corner of life.

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Self portrait, 2011

The importance of dreams

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I’ve heard many times that I can be intimidating to some people. “In a good way” they continue. But there’s nothing good with being intimidating, because it creates a distance. And I don’t understand why anyone could be intimidated by me – I am not a bad person. “It’s not that”, they say, “it’s the way you hold on to your dreams, no matter what.”

And that’s true. Although there have been moments where I’ve been dangerously close to feel them slipping away due to self doubts and feeling lost in life – and within myself.

But I’ve always had dreams – big dreams, dreams I could ride on, visit like a distant star, dreams that I could surf upon, be high on and dreams that kept me company throughout periods of loneliness and despair.

At the age of 5 I knew I wanted to be an artist and I told it to everyone – like I made a promise to the world; “one day, I will become an artist and make art!” In my early teens, I discovered writing and I guess I’ve always wanted to become a writer too, but I’ve focused mainly on the art (so far).

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I think I intimidate people because of the way I use my dreams as a guiding light in my life – I’m always following this  thought-out path that will lead me to them – like goals instead of dreams, and that can be provocative to people who stopped dreaming. There is magic in our wildest dreams. There is pure light and love in our dreams. And because we are able to dream we are also able to make them come true. “What we think, we become.” Buddha very wisely wrote. That’s why dreams make us powerful – and we feel powerless without them. Dreams are like hope – an inspiration, and without it we feel lost, small and hopeless – followed by bitterness, jealousy and hate for those who keep on dreaming, no matter what.

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We lose the connection to our dreams when we stop believing in ourselves and our potentials. We stop dreaming when we give up the will to work hard to make them come true. We no longer have access to our dreams when we feel content with what we already got and become comfortable with that idea. We can no longer reach our dreams when we begin to compare ourselves to other people’s talents, achievements and dreams. We forget to dream when we deny our true nature. We lose the sight of our dreams when we reject the idea of magic. And we bury our dreams in our bitterness when we no longer feel powerful enough to pursuit them.

But here’s the good news; nobody is responsible for killing our dreams but ourselves – which means that we all have the power to give birth to new ones.

2015 – My year in pictures

2015 has been one of the toughest and at the same time one of the best years of my life. It’s been an important year of rediscovering my creativity, exploring new concepts as true love, lasting happiness, freedom and the first steps to independence. I’ve grown so much this year, I don’t even feel like I am the same person as I was in January – perhaps mostly because I’ve slowly been taking back the control of my life and ended some toxic and destructive relationships that were draining me. Now, I’ve become a minimalist in the sense of what I have in my life – only good things and people who makes me happy and inspired are allowed to stay in my life, the rest has to go.

My video messages from 2015:

Moments of my life

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The other world

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From my inspiration folder, I have an artist’s crush on Charlotte Rampling’s eyes.

I’m feeling restless and impatient. I want to get started with new art projects but I feel stuck in between two worlds. Since I’ve been so focused on my inner journey and creating a new life for myself in these last few years, I haven’t been focused on my art and it’s a strange process to switch focus from one world to another – like searching for Narnia in a dark closet behind a collection of fur coats. I need to relax my consciousness, to reach a meditative state – and dive into my own Universe. I have to isolate myself a little, I have be quiet and introvert without feeling pressured to be social or expressive. I will search for silence and solitude. That’s where I’ll find everything I need to be able to ge started and into the groove and the mood for having fun with my Lolita demons again.

I have never felt closer to my creativity and art before. I haven’t been feeling like this for 10 years, but even then I didn’t feel this connected to my creativity like I am now. No wonder I’m feeling a little impatient!

Collecting energy

I’ve made a plan how to achieve my artistic goals. I’ve reconnected with my creativity after the long hiatus, I’ve cleaned the palette, emotionally and mentally, I’ve killed darlings and gotten rid of old mannerisms that doesn’t fit me as an artist anymore. I am ready. Ready for so many things. I want to build a new collection of works, I want to restore my career and to do it all differently. I want to do this the right way – where I have all control and not letting gallery owners or bad self esteem control me. I don’t want to compare myself to other artists or older versions of myself where I felt successful, I want to make the art I want to make and I don’t care to judge it or listen to other people’s opinions of it. This is MY gift, MY career. I will start from scratch but use my past experiences and successes in this new process to guide me right. I have a new life, peace of mind (for the first time in my life) – my mind is not clogged with PTSD and trauma, I have a much better self-esteem now, I have a new voice that I want to use in my art and I have a clearer vision of what I want to achieve.

I will take a couple of weeks to gather strength and collect energy, before I start this new artistic journey. Before I completely commit myself to what I was born to do. I can’t wait.

A new focus

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My studio, ready for new adventures

I’ve been so focused on building a new life and my new relationship this year, I haven’t really been in a place where it’s just me and my creativity. But now, I have laid the necessary foundations and they are stable. I find myself in a new place of peace and relaxation. Now, it’s time to just enjoy life and the results of the hard work and all my achievements. I will go back to making art again, and this time I feel a genuine drive, not an anxious struggle to find my way back to my creativity, I’ve already found my way back. I’m ready and so god damn inspired. I will continue my artistic journey in three phases; painting/digital art then a writing phase and then perhaps a combination of the two. I can’t wait to get started. This creative process will take years, and I am in no hurry to achieve all my goals, but I will. I feel so happy, and not at all scared or lost as I’ve felt throughout the last 6 years. Now I’ll shift my focus, from rebuilding my life to creating art and making all my dreams come true.

I am tired of losing money on my art [an artist’s battle with the art world]

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[what I do best – making art]

Last week, I was invited to be included in a really cool group show in Japan. But. They wanted me to pay an admission, to give them money to be part of the art show. This really bothered me, not because the admission was high, but because I’m tired of having to pay for other people to show my art. I have already spent my money on making the artworks they want to exhibit; I bought the canvases, the paint, the paint brushes, whatever I needed to get that inner expression out of me onto a canvas. I went to the framer’s shop and had it framed. Oh, and don’t forget about the time, the effort and the divine talent I put into my work. I work hard and I spend a long time working on a piece. Then, if I am invited to a gallery to show my work I have to buy some bubble wrap, cardboard and packing tape (a lot of packing tape) to secure and protect the artworks in the shipping process.

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[buying new canvases]

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[a custom built wooden box to protect my art in the shipping process]

From my experience there are three different alternatives when it comes to shipping your artworks to an art show; 1.) If the gallery is very professional and serious about their business, they will pay for the shipping, both ways (if the piece doesn’t sell in the show). 2.) If the gallery is semi professional you have to pay for the shipping to there and they pay for the return if the artwork is not sold. 3.) If the gallery is not very professional and perhaps run by other artists without much money, you have to pay for shipping both ways. This is very expensive – because it means you payed for the art supply to make the artwork, you put all the work and effort into it, you got it framed, bought the bubble wrap, cardboard and the tape, payed for the shipping fee and if it didn’t sell you are forced to pay for another shipping. That’s a lot of money being lost in the process. And yes, it’s ‘good publicity’ to show your work, but you can’t use that as an excuse for losing money on your art for more than some years in the beginning of your career, in the end  – it just becomes bad business. Really bad.

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[and it can get worse: destroyed artworks in the shipping process because of ‘force majeure’ (also known as ‘bad luck’, I am haunted by bad luck]

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[my poor baby died on its way to Culver City, USA]

And then you have the galleries that wants you to pay an admission, or pay for the promotional work – the printing of posters, flyers etc.

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[happy artworks are being sold at a gallery]

And you don’t really want your art to be too expensive, because then nobody can afford to buy it, unless you work with fancy galleries where they have customers who can afford a little Jeff Koons to put on the terrace or to collect diamond skulls as a favorite hobby. But I feel a little too underground for those places. I like a real audience, where the eyes and hearts falls in love with my art, not the wallets or business senses.But let’s say you do sell a piece in the art show – then the gallery will take up to 50% of the sales. (In the end you payed for the art supply, you put all the work and effort into it, you got it framed, bought the bubble wrap, cardboard and the tape, you payed the shipping fee and then the gallery took 50% of your sales. Perhaps you even had to pay for the snacks for the opening night.)

I’m not good at math but it’s not hard to see that something is wrong in this equation. And I understand, the gallery owners have their own problems and want to get some money out of it too. But I’m thinking… I wouldn’t start my own gallery if I couldn’t afford to run it – and the galleries couldn’t exist without the artists. We should be very much respected for the work we are doing, and not pay for gallery expenses, we already had our own expenses to pay.

They say that every artist has to suffer and be broke – even starving (!) to be a true artist – and the danger in keeping that cliché alive is that it becomes a self-fulfilling prophecy where the artist is “OK” with it, because it’s expected of them to always be broke and live without any money. Can you imagine an art director starving and working for free because he’s doing something he or she loves, or a veterinarian suffering and paying money to taking care of animals in need, because that’s his or hers passion in life? Why should artists suffer and starve just because they have a passion in life?

I am tired of losing money on my art and to be expected to work for free because it’s “good publicity”. And how insulting it is when someone says “Think about Van Gogh, he didn’t make ANY money on his art while he was alive!” like it’s something good and positive to not make money on one’s art, because it implies that you will be considered to be a genius when you are dead and buried. I don’t want to lose an ear or to die all poor and hungry (or to get scurvy because I can’t afford to keep a healthy diet).

I will end this little complaint with two absurd offers I once got when it comes to my art. The first offer was an invitation to have my art in an art magazine that wanted me to pay $500 for it: “The normal rate was $500 but I’m offering the space for $350 because its last minute.” I was ‘touched’ by his generosity but declined the offer. The second offer was from an online gallery – an “art happening”. It sounded cool but a bit confusing. An “Art happening”? I asked them what their idea was and I got a colorful email full of images that would explain their concept:

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I couldn’t believe it – the people (art lovers) of this initiative wanted me to DESTROY my artwork if it didn’t sell during the one week I was presented on their website! How arrogant! I understand that it’s easier for a street artist to destroy or cover up their art to keep it exclusive and alluring, but for most artists it’s an insult to be asked to destroy your work. You just don’t do it unless you hate it and don’t want anyone to see it. But you don’t destroy your art just because it didn’t sell at an online auction. I remember I was quite upset about this for weeks after I was invited. I just couldn’t understand how someone could ask an artist to destroy their art because it was ‘cool and exclusive’ to do so after a big hype about the artwork. I think I’m still a little upset about it and it reminds me of how serious I am about my art and how much it means to me.

It’s time that I start making money on my art. I just have to figure out how, without selling my soul to the devil or become an industry, because that’s not what my art is about. The exclusivity about my art, is that all the artworks have their own lives, their own history and their own stories to tell. That’s why I am an artist, to express myself, not to make big business. But it wouldn’t hurt to be able to do what I love and get paid for it, and not lose money on what I love the most in life.

The stories behind my art: “Screamer”

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I made “Screamer” in 2013,. It’s a digital artwork made in PhotoShop and it’s an assemblage of collected and scanned images, put together in hundreds of layers – just like the traditional techniques for oil paint, but with thin layers of images instead of paint.

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I began with a simple composition, I used a texture scan as foundation for my composition, I thought it looked like a landscape and had movement and drama.

WitnessI used the surreal baby head in the wagon from an older work – “Witness” [2007], that I never really liked, so I gave it new life with the “Screamer” piece.

“Screamer” is about existential anxiety, loneliness, vulnerability and fear. I made it during a time in my life where I felt very lost and alone, scared of not knowing where I was going. I felt helpless and like I was just drifting in a dark forest, without any real destination.

It is also based on one of my earliest childhood memories. I wasn’t older than 3 when my mom took me to the woods. She found some lily of the valleys and wanted to  make a bouquet, and for a short moment she wasn’t watching me, and I stepped right into anthill – and screamed as loud as I could to get my mom’s attention. I felt scared and panicked and from that day forward I’ve been dealing with a very difficult  Entomophobia [insect phobia].

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The printing process, “Screamer” is born. It is printed in an edition of 5 original prints – only 3 is still available.

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A child’s version of “Screamer”, it’s so cute!

THE STORY BEHIND MY ART: “DADDY’S SECRET”

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I painted “Daddy’s Secret” in 2007. It is painted with acrylics on canvas and measures 50 x 50 cm. I made it for an art show in Hamburg, Germany – Don’t Wake Daddy II that I was part of in the end of the same year. I tried to play with the ‘Daddy’ theme but I wanted to make it less obvious, more ambiguous and mysterious. 

Work in progress:

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I was inspired by old stories about witches and how they use objects, relics or animals as muses, things that makes them powerful and how their power are connected to something outside themselves, but at the same time, as part of themselves. I found it fascinating.

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The painting was sold even before the opening of the group show “Don’t Wake Daddy II” at Feinkunst Krüger in Hamburg. It was a great success at the show and it was my debut painting in the context of the lowbrow and pop-surrealism community.

The painting is featured in many international art magazines and art books.

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And here’s a cool tattoo based on my artwork (on a swedish man’s arm):

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And Daddy’s Secret has even had some fan art imitations:

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It is one of my favorite paintings I’ve ever done.