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Untitled - A series captured for a projection in a performance project. In the interplay of movement and live music, the images became a visual score. Its documented reality shifted into the abstract and associative, initiating or echoing movements. This independent series focuses on the persona of the dancer and his shaping of space. The core of this work is the inseparableness of body and spirit, the connection between the individual and the space he takes, shares and transforms. The body set within deep shadows and stark light, connects the dancer to the place of movement but also replaces that context – floor, wall, light – with an inner reality. The edges of his space is now defined by the edges of his body, captured and informed by the edges of the image. His choices interact with the choices of the photographer, making this a collaboration about physical as well as spiritual choices to articulate, define and express one’s self. There is a tension in the fact that the body is moving both into and out of the darkness, to seemingly merge with it yet resist it. When thinking about a name for these images, it became clear that the concept of the ‘untitled’ can be understood as something or someone being in the process of titling. Choosing your name is a powerful way of claiming your space and your identity. Here, the individual articulates and claims a space in the same way dancers and others do in their everyday lives. By taking place, taking a place, you are defining your space and yourself as titled. This work was shown for ex. at the Dance Museum in Stockholm 2004 and Centre Culturel Suédois in Paris 2005. A selection of was was also exhibited as independent works in 2007.

Cover Space - A concept that defines a physical and a metaphysical aspect of movement. Firstly, it means to push the body as far as possible, to articulate and extend each movement so that it becomes all that it can be. Secondly, it means pushing your spirit, focusing and extending your energy to where your presence fills the entire space. Covering space belongs to the transgressive, the performative and the polymorphous body. The body that overextends its boundaries, takes on different shapes as a multitude of bodies depending on the stage it enters. At the same time, covering space is an everyday parameter. In a similar way to the individual changing looks and movement patterns in different settings, the dancer is expected to 'cover space' as an everyday challenge on stage and in the studio. These images came out of an interest in improvisation, when the schooled body of the dancer is exploring uncontrolled movement. Another interesting situation here was rehearsal, an everyday transition phase between the private and the public body. Both of these situations emphasize a subversive element of dance expressions, where the dancer is adapting to but also fighting against a set of movement rules. To 'cover space' means to meet the pressure of these rules but also to own your movements, make them yours and communicate your self through them so that others can share your experience. The submitted works are one singular image and three images from a larger series. Each image of the triptych consists of two negatives in their natural order with the vertical black bar being the space in between them on the contact sheet. In this way, the dancers interact both spatially and temporally with the photographic process. Both the dancers and the images are caught in between, interacting with the actual space where they are moving and with the space within the image. The separate frames are consecutive though captured at certain intervals depending on the movement of the dancers, thus also communicating the idea of movement as time.

Bounce - These pictures of Bounce Street Dance Company were commissioned by a magazine and became an exhibition at the House of Dance in Stockholm 2003 with portraits emphasizing the dancers and dance as a means of expression. The aim was to bring together the professional and private by way of direct physical energy and improvisation. Rather than pictures of dance, the idea was for the photography itself to be a form of dance. These images capture the experience of dancing from the inside out, where the strongest realism visually borders on a sense of the surreal.