All of my work springs from an urge to create and reflects both my Danish heritage and architectural experiences.
The backbone in my work is my heritage and imagination but it is my architectural education and training which allow my creativity to thrive. I have been taught how to order ideas, draft by hand and electronically and I know how to address, process, create and execute a design, all wonderful transferable skills.
All though gifted in craftsman-terms I am very much self-taught. A few short-courses taught me how to cut glass, tiles and hand build clay but beyond this I rely on practise and my natural abilities when converting ideas into physical work.
In my work I use skills, materials and techniques from a wide range of art forms. Basically, I make use of the skills I got and if my ideas go beyond these I try to expand further.
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 these.
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. While trying to avoid perfectionism I truly do value craftsmanship. Not that craftsmanship alone makes an art piece but a visual artist without any craft skills is similarly only half an artist.
Most of my creations and especially the mosaic related work takes a considerable amount of time and effort to create. Ignoring the low output and financially downside to this I don’t otherwise mind the slow work-process – only this way of working leads to the result and quality I am looking for though it does also require a clear vision of what is to be achieved right from the outset since mistakes are difficult to correct and precious time and materials so easily wasted. Preparation is therefore the key to success and as such an essential part of my work process – many hours are spend preparing before I start on the physical work itself.
Since I do spend a vast amount of time on each of my creations, I prefer working with durable quality materials such as; stone, glass and ceramic. In my work I use both new “expensive” materials such as semiprecious stones, gold tiles and Italian Smalti glass as well as recycled materials such as sea glass and old roof slates. I am in all truth fascinated by materials, especially textures and colours including the many possible combinations between the two. Such focus on materials pushes imagery to the background and explains why a lot of my work is somewhat abstract. 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 generally required since less is often more in terms of the number of colours used within each piece of work.
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 always 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. I mostly 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.