What’s your earliest memory of art?
I recall going to the museum as an 8-year-old with my parents, at a time
when we lived in Sweden. I was drawn to snow paintings by Bruno Lilje-
fors in particular, and wondered how and why it worked that something
white could be painted in blue.
Where does your creative process start, and where does it end?
It usually starts by noticing something in real life, an ordinary sight that
suddenly feels signi!cant. The next step involves photography: seeing if
I can frame that moment and give it weight by cropping it in an unusually
close-up manner. If that works, it is usually con!rmation that there is
something there, an emotional potential in that ordinary thing. I will then
paint it in one sitting, combining the qualities of the photograph with
my real-life observation.
What’s your uniform?
I paint in my normal clothes. I do not have an apron or overalls. I am
quite a tidy painter and almost never get paint on myself or my hands.
My studio is fairly organised, and everything has its place. I try not to
hoard clutter and regularly clear out old work, reassessing what is worth
holding on to.
What would be your dream set for presenting your work?
I love making work in reaction to a space, thinking about how to use
its particularities to my advantage. For instance, I am interested in set-
ting up unexpected moments of encounter with the work in awkward
spaces. For that reason, I would love to show my work in atypical ve-
nues such as an empty storefront, a living room, or gallery spaces with
interesting structural qualities.
What are you scared of?
Not being able to paint and create in some way. The older I get, the more
I realise my happiness depends on it. I feel restless and sad without it.
What are you hopeful for?
I am hopeful for more time! Time to experiment, and even time to just
look and think, without feeling rushed to pick up the brush. It can be
di$cult to try something without the expectation of a speci!c outcome
or measure of success. I am currently trying out monotype printing for
the first time. It’s hard and frustrating, but it stretches creative muscles
I didn't know I had, broadening my language and my appreciation of
other artists.
