interstices
Interstices
ESSAY, 2025
From vinyl flooring designed to mimic wood to performances that subvert gender norms; from protests that reclaim public spaces to artists inviting us to share a meal in a gallery - appropriation is a tool of transformation. It is a method of taking something - a space, a resource, an identity - and reworking it, giving it new meaning or power. In doing so, it challenges established hierarchies and narratives. Who has the right to take? Under what conditions does appropriation empower, and when does it exploit? This essay explores appropriation across art, architecture, the construction industry, and social practices. By drawing on the theories of Henri Lefebvre, Judith Butler, Shulamith Firestone, and James Holston, along with the artistic practices of Rirkrit Tiravanija and Eline Benjaminsen, I aim to uncover both the common threads and the tensions inherent in appropriation. The goal is to identify its transformative potential while also addressing the ethical implications it carries. Ultimately, I propose a methodology, a practical framework for using appropriation as a tool for collective transformation of space. Through this exploration, I wish to understand how transformation navigates between disruption and creation, between power and resistance.
PHOTOGRAPHIC MAPPING, 2024-
Photographic mapping of a home over 24 hours. The apartment is documented from ceiling to floor in precise coordinates. Investigating improvised spatial structures and appropriated objects.
DIPLOMA PROJECT, 2025
Interstices are the small spaces between things. In this project, these are the small gaps between the urban wooden houses in Bergen. The term interstices is also used metaphorically to describe cracks in systems of power, thought, or structure. Places where resistance, ambiguity, or transformation can occur.
DRAWINGS, PHOTOGRAPHS 2024-
Odd situations, overgrown gardens, post industrial sites. I photograph them, pin them up in the studio and start drawing them as axonometric drawings. What they all have in common is that they are a kind of backside. They all contain stuff we dont want to associate ourself with. This became an entrance into the thinking of what we hide, and how we curate for the conformist living.
Notes, 2025
An indetermined observation on our surroundings offers a different entry point into understanding. An attitude that resists commercial spectacle and turns its attention instead to the unadorned. I am drawn to the overlooked and the unresolved, the backside of architecture: spaces filled with the things we disassociate from. That is rat traps, heat pumps, ladders, garbage, leaves, soil. These zones are spatial margins, places of utility, neglect, or suppression. In contrast to the synthetic terrains we elevate as architectural figureheads, these spaces offer an unfiltered glimpse into material and social reality. In an effort to preserve what remains uncurated, I highlight these spaces as resistant architectures not by intention, but by condition. They seem too complex or too inconvenient to fit the narrative. And it is precisely their refusal to conform that gives them potency. They resist imageability and commodification.
ESSAY, 2023
In this text, I aim to go through A/S Sydvaranger’s industrial past. I seek to understand this post-mining landscape, to understand the stories it holds and its lessons, where the architecture serves as a reminder of the interplay between progress, profit, and the price paid by those who inhabit the land.
Performance, video, textile work, 2023
Cotton textile 2000 × 1800 mm. Salt water, Cod liver oil, tar, linseed oil.
Performance, video, textile work, 2023
Cotton textile 2000 × 1800 mm. Salt water, Cod liver oil, tar, linseed oil.
Video, performance,2023
It is a forest of machines and mountains of tailings from 110 years of iron ore production. Unlike a shrimp who eats dead material,leaving sustenance for the next organism in chain, the human leave most behind for it to exist in the state as it was when it got irrelevant. As I am walking around the iron mines of A/S Sydvaranger 15 minuttes outside Kirkenes I see numbers of fragments from a over 100 year old story. Rust are formed on iron. The ground are made of rocks, sand, dust and rust. There is specific parts tied to the iron ore processing cycle. Broken structures, tied up rollers, lifts and ladders. Orange jumpsuits from the time it was abondened,hard hats with stickers indicating that the worker was fan of AC/DC, nude models, Volvo, Temrock underground etc. They tell stories of the workes that were here.
ARCHITECTURAL PROJECT
Claiming space through adding a new typology in an exclusive ski resort and cabin field.
Ongoing research, 2025 -
Military presence. Surveillance. Forward looking infrared. Death by GPS. Who is protected and displaced.Spy architecture.