Fotograferandet är ett sökande som alltid funnits där när ingenting annat räckt till. Ofta söker jag något verkligt bortom det uppenbara. Motiven skiftar men utgångspunkten är densamma. Jag tror på den fria konsten, konst utan syfte utöver sig själv.
My grandfather's camera ended up in my hands when I was fifteen. Something took hold.
When I left my first job I told a colleague: "If it doesn't become photography, I don't know." That was 1985, and nothing has changed.
In the beginning, photography was a kind of diary-keeping — a way to give life meaning and direction. With my own black-and-white darkroom I could spend a lot of time on the craft. My subjects came from the urban landscape. Concerts, flower portraits and nature images have also held an important place in my visual world.
Through my own work with printing and mounting, my experimentation has continued — plexiglass prisms with an enclosing image for ceiling suspension, and an electronic version that animates the motif as a rotating prism.
With the Grenverk project, the work took a new direction: a series of trees portrayed with their root systems, opening up interpretations of both an outer and an inner landscape. Firmly anchored with deep roots in a self-sustaining system, they suggest freedom and independence — but also solitude.
Street photography deepened when I moved from distant observation toward a practice of presence and interaction. What draws me is the unstaged street scene, where people enter the frame and give it meaning. Often I meet someone face to face — something candid and human in a fleeting moment.
My images are not bound to the concrete. I move from the figurative toward something more abstract and open to interpretation. The viewer discovers the image from their own perspective rather than being directed by the photographer.
I believe in art for its own sake — art without purpose beyond itself, that reflects people's lives and conditions. Not to change the world, but to mirror something real within it.