All of my work springs from an urge to create and reflects both my Danish heritage and architectural experiences.

Though not always obvious, math and geometry play a large part in the design, composition and preparation of my work and despite most of it being very detailed, my Scandinavian heritage still manage to strip away most visual fussiness.

My sources of inspiration are multiple – a material, a colour combination, a shape, a format, a texture, a feeling, a view and even an experience or opinion. It will never be the lack of ideas that stalls my creativity only the lack of time to prioritise and realise them.

Precision is an essential part of my work not only because it is required but because I enjoy it. However, perfection is never enough, it is boring and must be avoided – an interesting challenge for a perfectionist. A good antidote is to push the creative boundaries and technical skills which is why my work is diverse and incorporates multiple crafts disciplines and techniques. Following this however I often struggle to stay with the ideas and techniques long enough to make the most of their potential, so there is still room for improvement.

While trying to avoid perfectionism I still value quality in both craftsmanship and the materials I use. I am fascinated by materials, especially textures and colours as well as the many possible combinations of the two. Such focus on materials pushes imagery to the background and explains why I mainly produce abstract pieces. The materials I use also presents a lot of possibilities with regards to the use of colours. With thousands of colours to choose from, some discipline is required since less is often more in terms of the number of colours used within each piece of work.

Most of my work takes a considerable amount of time and effort to create which is probably why I prefer working with durable materials such as; slate, sea glass, semiprecious stones, glass tiles, French ceramic tiles and Italian Smalti. I don’t mind the slow work-process but because mistakes are difficult to correct and pressures time easily wasted I do require a clear vision of what I am aiming to achieve from the outset. Preparation is therefore an essential part of my work process and definitely the key to a successful result.

Thinking too much about the end viewer during the creative process has a tendency to stifle my creativity so I try hard not to second-guess how the finished work will be received. Even so, I am still trying to impress, hoping that my work will bring some element of emotion, contemplation or even wonder to the viewer. I am not however too concerned about which message or emotions the viewer picks up – sometimes there is even a deliberate contradiction between my thoughts behind the piece and the way it is presented to the viewer. Instead I hope for the viewer to create their own vision on the back on mine and thereby gain a personal and long-lasting connection with the artwork – a wonderful thing when it happens.