Please tell us a bit about your artistry; what techniques do you prefer working with and what materials?
Deliberate and experimental, like magical realism I prefer a multidisciplinary practice from hand drawn sketches with markers and ink to charcoal to digital illustrations and typography, combined. So there’s not a specific technique that I prefer more than the other, it’s rather the mix that makes it fun all in all.
You have attended several creative/art schools, how would you explain your overall artistic/creative education (must not be school, can be previous workplaces, life etc)?
Colorful. A mix between analog and digital exploration, and also an opportunity to not only think visual design but to reflect and understand what purpose it has and how you can communicate it through different mediums.
As for the schools that you have attended creative programs at – what do you feel has been the most rewarding part about it, and what do you perceive as been most problematic?
The most rewarding has probably been to share a space with so many other creative minds and create together. I didn’t realize until after school how nice it was to be part of a context, and a sense of belonging. I never really vibed with all of the teachers, that could be a bit problematic at times. Too much of a power structure sometimes, it’s not really my thing.
Do you, yourself, see any specific art historical references or themes in your own work or
are your works rather questioning the art history that people in the west, are being told
about and educated in?
I would say I’m both inspired by Parisian modernism and pop art but with a constant agenda of questioning cultural values, and the ways we are being told and educated about stuff.
In what ways would you say your art is political? Do you think art is important in a political context?
Art does not have to be political at all to be good or to evoke a feeling in me, and I work from a more contemporary perspective. Questioning the reality can of course be from a political view and if not, then it’s a bit more abstract and harder to see a connection to a clear political context. Then, as an observer, the whole image can be sort of an enigma, or a ridel, rather than a symbol of a clear message.
Tell us about the artworks you have at Arrivals – would you say they are typical for your artistic practice or are they standing out from your other works? Are they part of a greater project or from a series?
They belong to the same series of works but have their starting point in separate narratives. Right now they are typical for my artistic practice — maybe that will change over time, I’m not sure.
What does artwork titles mean to you?
I like to elaborate with titles, with a thought behind it of course. Not to state the obvious or to guide the viewer, it’s my opinion that it’s up to the observer to interpret both the actual work and the title themselves.
What are you inspired by when you create?
I usually listen to different music for every project so a lot of my time and work is being guided by the music that is playing in my ears for the moment, and is usually fitted to that specific project and the emotion I want to evoke inside of me.
You work both as an Illustrator and as a Graphic Designer. How do you think your artistic illustrations are connected to your daily work as a graphic designer? Do you have different processes for the two?
They are both in a visual context, so in that way they are very similar. But illustration is much more about drawing compared to graphic design where there is more about a structure. Not really a different process but rather different music in my ears. Like Alice Dejay vs James Brown.