1. act : Slavery of electrons
2. act: Photons explode on the computer screen and die a brilliant death
3. act: The pixel is dancing ‘bee waggle dance’ in a hologram

With reference to quantum physicist David Bohm, Laura U. Marks demonstrates (1999), how the smallest particles that make up a digital image (electrons and photons) have memory. Marks draws the conclusion that we must recognize digital technology as a sort of non-organic life.
This work investigates if we can empathize with digital technology. Contrary to the idea of the cyborg: man as machine, it is here the machine being investigated as something animistic. The work is a genesis of a pixel, unfolded in a tragedy in three acts, each act presented on a marble pedestal (from left).

Detail (microscope view)

Detail (view inside the box, of 3rd act)
Chromatic aberration is usually considered and error in optics. The curvature of the lense causes the light to refract slightly, producing a red/violet color in the contours of the image. these images mirror the audience and their surroundings in the effect of chromatic aberration. The motifs indicate a comparison between how light bends through a prism, with how time bends around gravity, (a prism is also a gravitational object), thus unfolding relativity theory. This installation asks if the “optical error” might actually reveal something about the nature of time.

Cat State is an installation that seeks to unfold Schrödinger's Cat Paradox and the Copenhagen Interpretation. The paradox was meant as a critique of The Copenhagen Interpretation of Quantum Mechanics, but was instead taken literally. The term (and equation) Cat State is now used to describe phenomena that is found to be like Schrödinger's Cat - in a superposition of all its particular theoretically possible states (or, configuration of its properties) simultaneously.

Time Machine 1.4.2 (2013) is an investigation into the symbiosis between light and time. The “image-machines” diffracts the light by 1.4.2, resulting in these color rings. This series of pictures looks into the possibility of time also being diffracted/slowed down by 1.4.2 within the surface of the image.

By asking what notions of time and space stereoscopic images produce, Entangled Realities II (2012) unfolds this photographic 3D technique, through a set of archive images of seagulls. Here the images are side-lined with a physics light experiment, called the double slit experiment, performed on gelatin silver prints. The experiments are conducted using a seagull’s feather and in the back room the installation i set up so the feather reacts to the viewer’s movements, while a scrolling text explains the Many-Worlds interpretation, thus investigating whether the parallel images of stereoscopy might reveal parallel universes, while also suggesting an entanglement between the viewer and the feather.

Entangled Realities takes its point of departure in the double slit experiment, a light experiment, that has been at the center of an ongoing scientific investigation into what light consists of. New discoveries in this experiment led to the development of quantum physics with its many new attempts to understand how the world works, among other, the Many Worlds Interpretation. The double slit experiments were performed using a hair, thus making these gelatin silver prints a kind of fossil evidence of the artist and the viewer having ended up the same world, namely the exhibition space.

Space Dog Odyssey is a series of photonovella performances, or rather, performances that would like to be fictional documentary films. A Sub-Space Dog Odyssey, The Prequel is the second in a series of queer, post-humanist rewritings of major historical events, told through the pets of powerful politicians. This prequel takes its point of departure in WWII. Performed by two actresses, the narrative unfolds in two strands; one is Hitler’s mistress Eva Braun and the other his dog, Blondi. Woman and dog is confused and Blondi’s pups, becomes Eva’s love children, causing a reaction in Hitler, resulting in WWII becoming undone. Here history is re-negotiated through a pun on the word subspace, being both a metaphor for the bunker they would end their days in, but also being Blondi’s relationship to Hitler and in the end, by taking use of the last meaning of the word, a way to undo WWII.

Space Dog Odyssey, A Cold War Romance, written and performed in collaboration with Mathias Kryger, takes its point of departure in the Cold War and the Space Race. The narrative of the performance follow two strands; one is the encounter between Nikita Khrushchev and John F. Kennedy at the Vienna Summit in 1961. The second strand is the story of Strelka, the Russian spacedog, who was allegedly the first (along with Belka) to return to earth alive. Nikita Khrushchev gave one of Strelka’s offspring, Pushinka, to the Kennedy family and Pushinka went on to have pups with The White House dog Charlie. The distinction between (hu)man and dog is blurred, thus reconfiguring history, giving it a precipitate happy ending, where the Berlin wall is never erected.

In the same letter, where the famous analogy of the simultaeneously dead and alive cat paradox, Schröedinger attemps to make the same point, through this analogy of a photograph, which was meant to critique the Copenhagen interpretation. Two copies of the same photograph, an out-of-focus depiction of fog, hang side by side.

Diplopia takes point of departure in a cover of Whole Earth Catalog (a magazine that ran 1968-’71 that voiced the “DIY” & “back to the land” movement) from Fall 1970. Nasa’s first picture of a full globe from 1967 became the outset for the aesthetics of the magazine and later a pastiche of this very image made the cover in Fall ’70 (a photograph of the sky taken with a 180 degree fish eye lens). Diplopia means double vision and the installation, consisting of video, photography and architectural elements, revolves around the copy, investigating the principle of originality and its ambivalent role in western society since Plato.