This series of flower and fruit still life visually resembles 17th century still-life painting, but once we look closer, we notice that the natural elements in the image are not real but actually made with a plastic tablecloth that has flower and fruit printed on it.

In the classical times a still-life painting existed to remind the living that they only had a limited time on this earth. In this work the notion of ephemeral is reversed by the plastic material; as we know, plastic can take hundreds of years to decompose. 

The series is a visual commentary on today's image driven consumerism and materialistic culture where the obsession for perfection make the fake often seem more ideal than the real.

Images of women focuses on looking, being looked at, and the gaze as a means of power. The still-life photographs are made with material cut out from womens’ magazines and advertisements; smiling faces, shiny hair, painted nails..
By cutting, folding, and re-photographing this ordinary editorial and advertising material, suddenly new images emerge.

When cutting out and detaching the original picture from its original context, it challenges both the original image creator’s intentions, and also its consumer’s (the spectator’s) thoughts. The question here is: Who makes and defines the image of a woman? And who profits from it?
The power structures related to gender are visible in the media in a subtle yet obvious way through particular stories and roles. A kind of distortion happens for example when only a certain type of imagery is continuously presented to the audience, validating and strengthening only the certain ideas about femininity and what is acceptable. Images of women is asking for new alternatives to the narrow roles that women have in traditional and popular stories, for example in films and in advertising.
The names of the artworks invite the viewer to imagine a new story for the fictional characters in the artwork, a person who refuses to take seriously the traditional ‘pretty’ and ‘nice’ roles commonly reserved for women.

'Demoiselles de Paris' translates as 'young Parisian ladies'. The series consists of images of typical French cakes each accompanied by an announcement found in the personal ads column of the Parisian paper 'A Nous Paris' (2006).

The Juxtaposition of the image and the text evoke to question what femininity is and how it is seen in a certain cultural context. The work aims to exemplify the parallel between the idea of the cake and the idea of the woman: as for both of them, beauty and form is of upmost importance, and they both aim to seduce.

The Dark Collection plays with the idea that an ordinary object can look like something completely different depending on the angle, lighting, and the viewer's psychological predisposition. The series explores the process of visual perception; what happens between seeing an object and understanding what we see.

The photographs make up a "Wunderkammer" -like collection of things that somehow look as if they were alive, reminiscent of the feeling from childhood when waiting to fall asleep in a darkened room and the shadows started growing faces.

In order to make sense of the world we tend to interpret abstract shapes as bodies and faces. In our minds the inanimate can become somehow animated, perhaps even alive. We relate to images and objects by projecting our being and emotions onto them, and reversely by recognizing parts of ourselves in things. It is in this context that the project explores the notion of empathy in relation to vision.

For me the photograph is a selected point of view, a chosen representation of the real object. In the manner that my imagery may evoke multiple interpretations, it also illustrates the fickle nature of vision. How we perceive reality is greatly influenced by our personality, psychological predisposition, and our emotions. As James Elkins says: "Ultimately, seeing alters the thing that is seen and transforms the seer. Seeing is metamorphosis, not mechanism."