The installations are concerned with representation, or more specifically, bringing mental representations into physical reality in the form of “sculpture pictures”. The pieces might appear to have been printed with a large format printer, but are actually done by hand.

True Nature poses the question of whether representation is enough in order to experience the “real thing”. In a concrete sense, the sculptures in this piece are hollow, without content, and are only surface. Such a perspective exists in which all is considered “just” representation. According to Kant we cannot perceive things as they truly are. A similar view can be found in the Buddhist philosophy of Mind-Only. However, Buddhist maintain that through practice we can perceive the absolute and that this absolute is actually just becoming experience. In the words of the 13^thcentury Zen monk Dogen, only a picture of a rice cake can truly satisfy hunger. In the context of this body of work, can these pictures of nature satisfy the call of nature? 

The pieces’ titles and content refer to Buddhist philosophy and practice where, originally, much time was spent in forests and nature. The word for “monk” in Sanskrit, the language used in the first Buddhist texts, is bikkhu – a forest dweller. 

As in True Nature, the pieces composing the installation Drawn Space aim to extend drawing into the tangible world. The surroundings can be recognized, at least by people originating from the Nordic countries, as the environment in rural areas, where many people have their leisure time cottages and where one can partake in more simple but fundamental activities of being and relaxing close to nature by chopping firewood and maintaining their place of dwelling. The past-time environment transforms into a space of being and thought.