Synkronisering & Risk för oönskad effekt
They gather in a box, a drawer, or a bowl in the hallway. Small objects that no one quite knows where they belong, yet seem too important to throw away. A piece of plastic, something button-like, a metal tag in an unusual shape. We keep them, just in case, hoping their function will one day become clear and that, in that moment, they will regain their meaning.
For me, these things end up in the studio instead. There, they’re joined by images and memories of objects I’ve seen in the city, objects that, like the others, radiate a sense of function while leaving space for my own imagination to interpret their purpose.
A lone pipe sticking out of the ground, a hatch embedded in a wall, a tangle of cables with no obvious connection to anything. During the process, I let the objects transform, be translated into other materials or pieced together into new constellations.
It is through this work that Risk för oönskad effekt (Risk of Unintended Effect) and Synkronisering (Synchronization) have emerged. They reflect my interest in objects that exist in the space between the recognizable and the incomprehensible, between the functional and the meaningless.
We are constantly surrounded by things that signal function: technical components, built structures, and parts of complex systems. It’s not always obvious whether the objects we encounter actually work as intended, or even what their purpose is, but we interpret them nonetheless. Not fully understanding what you’re seeing can trigger feelings of frustration and exclusion, but it can also open up the possibility of creating your own sense of order.
