Paintings and drawings


Deer Doodle, 2017
Caran D'Ache Luminance colored pencils on Lana Bristol 250g paper.

Squirrel, 2017
Caran D'Ache Luminance colored pencils on Lana Bristol 250g paper.

Daffodils, 2017
Caran D'Ache Luminance colored pencils on Lana Bristol 250g paper.

Blue tit, 2017
Caran D'Ache Luminance colored pencils on Lana Bristol 250g paper.

Peony, 2017
Caran D'Ache Luminance colored pencils on Lana Bristol 250g paper.

Vanja Ann Mari, 2016

(Pencil on paper)

Between floors, 2010
This installation consisted of a life-size self-portrait of me sitting in front of a red brick wall, at Malmö Art Academy, during the "Årsutställning 2010". The size and realistic painting style – the wall in the painting accurately depicting the wall hidden behind the painting – created an illusion of me really sitting and observing the people passing me on the great staircase between the 2nd and 3rd floor. People often think that photography is closer to reality than painting, although painting has a longer history than photography. I wanted to point out that a painting is just as illusory as a photograph and that nothing would ever come as close to reality as reality itself.
(Installation. Oil on canvas placed in front of a brick wall. The canvas measures 100 x 150 cm)

Between floors, 2010
Close up.


Freakonomics, 2009
This installation consists of an oil painting and different mixed media. The overall theme is knowledge. As humans we soak up knowledge through different media, in this case literature. Besides that, the installation is about how we choose to interpret conventional knowledge, and how to choose to live one’s life by unconventional theories. The artwork has its origin in an existing book that tries to break with these regular patterns.
(Installation. Oil on canvas and mixed media. 100 x 350 cm)

Freakonomics, 2009
Close up of the right side.

Freakonomics, 2009
Close up of the left side.

The image above is an installation view of a series of paintings exhibited at KHM Gallery.
The image includes “Bending Spoons” and “Bending Spoons 2”.

Bending Spoons, 2008
The title refers to Uri Geller and his conjuring tricks back in the 1970’s. The woman in the painting has exposed herself in a very vulnerable situation through how she observes the world. She has chosen to see the world “upside down” and thus she does not do as everyone else or believe in everything the majority tells her. The painting has been exhibited at KHM Gallery.
(Oil on canvas. 140 x 100 cm)

Bending Spoons 2, 2009
This is a painting of a short-eared owl. An owl’s eyes are constructed differently from human eyes. Even though their eyes are forward-looking, their big eyes are stuck in the hollow of their eyes as with other birds. This means that they have to turn their entire head to change their view. The painting has been exhibited at KHM Gallery.
(Oil on canvas. 50 x 50 cm)

Vanity, 2008
This is a painting of a woman symbolizing vanity. The portrayed woman desires to achieve visual beauty even though she will never be able to see herself or others, and in spite of the saying that beauty comes from the inside.
(Oil on canvas. 140 x 100 cm)

I reject your reality, 2009
These two paintings are about how we humans reflect, observe and copy one another even though we have a desire to be individual, special and unique. The artwork consists of two parts in complementary colours. The four women in this artwork are in truth the same individual, who has created a technically impossible setting with help from colours and mirrors.
(Oil on canvas. 140 x 210 cm)

Kaleidoscope, 2009
This painting is about a toy invented in 1816. A kaleidoscope is a tube containing mirrors and other small coloured objects. When one is looking into a kaleidoscope, one has to look towards light and at the same time turn the tube, then thousands of different symmetric combinations reveal themselves. It will be extremely difficult to “find” a pattern again after having made a new one, but one might find similar combinations in the coloured objects. A similar effect is also seen with humans, since humans who have known each other for a long time often resemble each other in many ways.
(Oil on canvas. 100 x 140 cm)

Voyeurism, 2009
This painting depicts a scene in a cinema where a one-man audience observes a scene from Alfred Hitchcock’s “Rear Window”, in which the overall theme is to observe others in secret. The actors on the screen obviously cannot see the spectator sitting in the dark cinema, and therefore do not know they are also being monitored.
(Oil on canvas. 100 x 150 cm)

Make Yourself, 2009
These paintings depict a chosen self, and are painted from photos taken by a friend. I found it interesting to paint the photographs to give them a new expression. I wanted to repeat the process of creating these pictures without reshooting the photographs. I chose to spend the same amount of time painting as I did planning and staging the photographs.
(Oil on canvas. 4 paintings, 70 x 50 cm each)

Make Yourself 1, 2009
(Oil on canvas. 70 x 50 cm)

Make Yourself 2, 2009
(Oil on canvas. 50 x 70 cm)

Make Yourself 3, 2009
(Oil on canvas. 50 x 70 cm)

Make Yourself 4, 2009

(Oil on canvas. 70 x 50 cm)

Decadent Family, 2008
The three paintings depict a family of five people absorbed with themselves and their own nature, while posing as characters from Greek mythology with a modern twist. The woman on the left dressed in fishnet stockings and bunny ears holds a golden apple, referring to the goddess Venus. In the middle there is a cluster of three females embracing one another, referring to The Graces. The young man on the left is dressed in nothing but underpants and angel wings, referring to Cupid. Each painting has its own story to tell, which adds to the strange setup for a family portrait. The entire family has a rather quirky and distinctive attitude; they seem narcissistic and superficial.
(Oil on canvas. 120 x 300 cm)

Venus med æblet (Venus with the Apple), 2008
This is a painting of a woman posing as Thorvaldsen's sculpture of the same name. In this reinterpretation the goddess is wearing a Playboy Bunny-inspired costume, which refers to the use of rabbits as a fertility symbol. Her belt and stockings refer to their own myths, respectively the myth of her husband Vulcan, who forged the magic belt that made her irresistible, and the myth of her lover Mars who was caught in a net with her. The golden apple refers to the story of the Trojan War.
(Oil on canvas. 120 x 80 cm)

Gratierne (Graces), 2008
This painting shows three young women posing as Thorvaldsen's sculpture “Cupid and the Graces”. They envision Aglaia, Thalia and Euphrosyne, who were goddesses of beauty, creativity and charm. Their costumes are inspired by their individual characteristics and capabilities. For example, the name Aglaia means splendor, glory and magnificence, and she is the youngest and prettiest of the three Graces. Thalia means care and bringer of flowers, and she presides over the festive celebrations and luxurious banquets. Euphrosyne means merriment, joy and satisfaction, and she is known as the goddess of mirth.
(Oil on canvas. 120 x 120 cm)

Den triumferende Amor (Cupid Triumphant), 2008
The young man in this painting is posing as Thorvaldsen's sculpture of the same name. Cupid's characteristics and qualities can be found in the painting's hidden references, such as Psyche depicted as a butterfly, along with the contemporary aspect marked with the text “Next step” on the young man's underwear. Additionally, the painted Cupid leans on the opposite leg than Thorvaldsen's sculpture. Furthermore, Cupid has a pistol and cartridges instead of a bow and arrows. The different colored cartridges symbolize his two arrows, one of them inspires love and the other inspires hatred.
(Oil on canvas. 120 x 80 cm)


The image above is an installation view of a series of paintings inspired by Roman mythology.
The image includes “Den sejrende Amor”, “Gratierne 2” and “Den skumfødte Venus”.

Den sejrende Amor (Victorious Cupid), 2008
This painting is inspired by Caravaggio’s painting “Amor Vincit Omnia”, which was atypical in its own time because of its non-idealized Cupid. In this reinterpretation one sees a young man playing Super Mario – a video game about helping the plumber Mario find Princess Peach with whom he is in love. The two controllers symbolize Cupid’s two arrows. Caravaggio’s Cupid is surrounded by human efforts, including instruments, and this has inspired the guitar in the middle of the painting.
(Oil on canvas. 70 x 90 cm)

Gratierne 2 (Graces 2), 2008
This is a painting that was inspired by Antonio Canova’s sculpture “Le tre Grazie”.  The Graces are known to entertain and delight the gods’ guests at banquets and gatherings, and thus the painting reveals the three goddesses’ strongest quality and capacity – to be patronesses of fun and festivity. The painting differs from Canova’s sculpture by being a snapshot with a real sense of time and therefore the painting is not a neo-classical work.
(Oil on canvas. 70 x 100 cm)

Den skumfødte Venus (The Birth of Venus), 2008
This painting shows a young woman in a bathtub. Botticelli’s “La Nascita di Venere” inspired the painting. In the windowsill, near the bathing woman, there is liquid soap with apple scent, a belt, shaving cream, and a large clock. These objects refer to Venus’ characteristics and many escapades such as her affair with Mars. They were caught red-handed by her husband Vulcan, although the young Alectryon were set to guard. Unfortunately Alectryon fell asleep and the god of the sun, Helios, discovered the lovers and told Vulcan about them. Vulcan then caught the lovers in a net. Subsequently Mars turned Alectryon into a rooster, and that is why roosters always announce the arrival of the sun.
(Oil on canvas. 70 x 60 cm)

Wedding portrait, 2014
(Oil on canvas. 60 x 60 cm)


Morten, 2010

Portrait of Morten, painted from a photograph taken on his graduation day in 2008. Given to his father at his 80th birthday party in January 2010.
(Oil on canvas. 50 x 40 cm)

Skovfe på flugt, 2016
(Caran D'Ache Luminance 6901 on Lana Bristol 250g)

Friends at Festival, 2015
(Drawing. Blacklead pencil on paper. 30 x 40 cm)

19-årige Kenny Lasse, 2012
(Drawing. Pencil on paper. 28,3 x 21 cm).

Studinen Bibbi Marilla, 2012
(Drawing. Pencil on paper. 28,3 x 21 cm).

Kamma, 2010
Portrait of my grandmother, painted from a photograph taken of her at Lyngby Hovedgade when she was ten years old. Given to her at her 86th birthday party in February 2010.
(Oil on canvas. 30 x 30 cm)

Folmer, 2008
My grandfather portrayed at age 19. The painting was made from a photograph taken by a random photographer in 1938 when my grandfather came cycling near Lyngby Torv on his way to work.
(Oil on canvas. 60 x 40 cm)