Methodological overview “in a stream of consciousness”
As a starting point in my process I mostly use collected narrative forms from daily life, it can be anything; something I overheard in a public space, fragments from discussions, situations, encounters on travels. Everything is a potential piece of work about to “happen” and always with a social grounding. This collection process is intuitive and although I am very inspired by the archive both as a tool and a concept in art, we are not really there in this part of the making. This process is one of oblivion, and I use the leftovers after the cerebral natural selection has done it's job. These floating documents waiting to be filed is built up of memories that still circulate in the bureaucracy of the unconscious and has not yet lapsed and become garbage to be thrown in the black hole of history, or become archived as a continuous story to show someones convictions.
I create systems so that the bureaucracy of the unconscious and the stream of consciousness can cross paths and it is in these conjunctions I find my ability to select. The documents are often like a snapshot, a mental image that comes back now and then, rubbing itself against other moments – testing if they will fit together. Some images, or files – do and create a moment, a character and an aesthetic environment that symbolizes a whole that I can sculpt, build or install.
This view on process and the creations of different systems for making choices is essential to my practice and the reason for a lot of my methodology; approach, execution and presentation. Even though I change the structure of these systems they always share similarities unless the work comes to me as a oneliner which is sometimes the case. One example is the decision to use a character or protagonist as a basis along with charting of information. In a lot of my work this is an attempt to add a documentary aspect that sometimes is true but always based in the emotional. This mix of real and collected realities from interviews, found material like moments on film, photos, in sound and those from emotional experiences – collected and viewed by me taking the role of an attesting accumulator.
The momentary is the foundation in everything I do and I am a firm believer of it's power and that it creates vigorous echoes in and for generations to come, maybe even for human eternity. The mental pictures of moments can be the symbol for personal conviction shaping and changing the world as we know it. Personal nuclear footballs, chargers or dischargers of the mind that can go off or implode in any direction or way even though its course is often predictable.
My craft and material execution is a ceremony that detaches my pieces from me as a thinker and creator. Yielding my work from the personal to the material world with the hope of creating an own entity. Something more generic and human than personal. Frozen sculpted moments persuaded by their own unconscious preciseness to be the center of the universe and this is their only capacity. The rest is up to the viewer.