The artist:
My art practice lies at the intersection of cognition and contemplative practice. Essentially a drawer and painter, I create large-scale multimedia exhibitions which make visible, aspects of the creative process. Accompanying symposia feeds into research and education.
My current focus is on connections between nature and the internal mind, exploring the idea of beauty as a deeper aesthetic, embodied thinking, cognitive diversity and heart-learning.
With nature as my subject matter, I use intuitive processes of drawing, painting and modelling, which increase my understanding of the interdependence of my internal and external experiences.
Fälthelden (Spirit-field) was part of my 2024 RSA Wasps Prize exhibition, Opposition and Fellowship. Named using a phrase by Richard Wilhelm from his translation of the I-Ching, the body of work produced for this exhibition speaks to the invisible process of reconciling opposites within the artistic process.
The I-Ching talks about locating the proper position between oneself and the surrounding world, cultivating a proper attitude in guiding us towards balance and harmony.
Fälthelden was made during a period of walking daily in landscapes fragmented by human activity. I tried to follow the practice of not maintaining a fixed attitude - to flow with changeable states and conditions, with continual contrasts in myself and my external actions, adapting and moving. Being led by the balancing up of space and colour in the fragmented landscape, a kind of personal harmony through opposition and fellowship is shaped.
When I look at what I’ve made, I’m interested in knowing whether there is some sort of spiritual aesthetic in the spatial content of visual works and whether I am engaged in light language as expressed through hands and body – which is not something you have to understand with the human mind, or intellectualization: it is rather something you feel deep inside of your heart.