Rest

Video, 2025, 10 min

Based on a field trip that the artist had last year, Rest is a video piece that follows a story of a search for a cave as it collects fractured environments and narratives voiced by digitally generated characters. As it was commissioned by Kunsthal 44Møen for his solo representation, the work constructs spaces dense with speculative questions and fragments of memory as it oscillates through the postindustrial sites and early Christian iconography of the island of Møn to 3D-generated environments. What appears linear at first dissolves into textures of time: a montage of states of mind. The work invites us into these sensory thresholds, where perception slips between illusion and clarity, fiction and memory, simulation and embodied experience.

Untitled

2025, Photoflash installation, chromatic paint, custom-made lightbox frame, drawing, 20×25 cm

Photos coming soon.

Grotto

2025, Backlit installation, readymade light, two drawings superimposed, 25×30 cm

Tether

Video, 2024, 12 min

First shown at Bilsart, Tether explores the contrast between the iconic and the forgotten, focusing on relics of time that are either cherished or overlooked. The work involves two historic hotels of downtown Copenhagen: the iconic SAS Hotel by Arne Jacobsen and the nearly forgotten Astoria Hotel, the city’s first functionalist building. It starts with a conversation overlooking Astoria’s hood ornament-sculpture, where two characters discuss unrelated topics—one about forgotten city sculptures, the other about scientific advancements—reflecting Astoria’s split consciousness between history and change.

Tether employs traditional cinema, CGI, and photography to create pockets of stories about the human condition, where human presence is depicted as a decoy, merely a display or voice, inviting the audience into the narrative.

Heavy Metal

Sculpture, 2024
Photographic prints, machined and welded steel, silver&glass charm, strobe lights, car battery.

Transformation, memory, and the passage of time are central concerns in the sculpture titled Heavy Metal. The hanging contraption is constructed as a dialectic, binding two rectangular metal armatures with ratchet belts to produce a bilateral viewing device. Each structure hosts a photograph in a custom-made metal frame that resembles a repeating passe partout, a stepped pyramid, or the expanding accordion-like bellows of a large format camera.

On one side of the sculpture, a childhood photo of myself, my only image from that time which was taken while sick from metal poisoning. On the other side, a computer-generated image, an abstraction of a self portrait within a chromium landscape that wears a small “nazar” amulet, which in Turkish and Kurdish traditions is worn to ward off the “evil eye”, a malevolent glare causing misfortune.

These images only appear as momentary glimpses when a synchronous strobe flashes every ten seconds, powered by a car battery hanging at the heart of the contraption. Reminiscent of proto-cinematic technologies such as the “peep show”, the display device functions like a reversed camera, affirming the affective quality of cinema and photography, and emphasizing the flashes of the image and of memory.

Indeed, this ‘time machine’ imposes a flickering temporality on perception, and establishes a bridge that connects the past and the present, functioning both as a poetic reflection on technological changes in representation and on my own rite of passage on occasion of the Afgang. This enclosed system is a mechanized yet mystic space, a channel for viewing and of being viewed, a source of power, transformation, meaning, and superstition marking the artist’s individual journey from one point to the next.

Diptych: +++ and L’eclisse

+++, Video, 5 Min. & L’eclisse, Photo, 24×36 cm, 2024

Two-channel video installation, color, sound, loop

A photograph whispers: This diptych work features a short video, +++, as a lucid dream or a flashing memory of a photograph. As a moment of eclipse, this duality embodies a passage from Fanny Howe to T.S. Eliot while exploring an imaginary and perhaps a psychological space between two characters: voice of a storyteller and a wondering listener.

Monad

Sculpture, Bronze cast, ready-made safety box, 25x35x17cm, 2024

Picnic at Flatlands

Video, 4K, 9 min., 2023

Picnic at Flatlands is a video on a poetic and explorative walk in and around Værløse Flyvestation, once an airbase that since has become a real estate developer wet dream, while some has been short-term rental workspace and some left abandoned. With two characters, one real and one 3D generated, the work walks us through these settings both the natural, domestic and hyper-real animated, quietly exploring while moving between them. The video acts as a backdrop for the artist’s continuing investigation of the transaction between our mundane, monetary desires and our need to connect with something sanctuary or natural. In fetishizing the idea of this ‘something’ it becomes an object – a place we bring the domestic into, controlling, regulating and eating on a blanket in it.

Under a Spell

2023, Site-Specific Installation
Plaster relief, 3D animation, strobing flashlight

Putting it in place as a fragmented, rendered landscape, scattered in nooks and through a cellar door that opens into a dusty basement under Kunstforeningen GL STRAND, Under a Spell lies an abandoned plaster copy of the relief that hangs above Kunstforeningen’s entrance. Warming itself by a campfire, it is reflecting on its life, and its sister, hanging out there on display, so near but yet so far away.

Picnic Scape

2023, Photo, Backlit Transparency, custom made frame, 35×25 cm

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Prospect

Prospect, 125×125 cm, Diasec mount, 2023

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Dread

Dread, 2023, Poster Print, wall mount, 21×29 cm

Difference Engine

Lecture Performance, 2023

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Devotion

Multimedia Installation, Variable Dimensions, 2021
3D to Photo Transfer, C-Stands, Photogram, Projection, Spot Light, Video Loop (10 secs)

Devotion is a multimedia installation that explores the idea of representation in today’s augmented technologies over the idea of the cave: first as a prehistoric cave where the first human imprints take place, second as a space for Plato’s allegory, and third as an imaginary space that 3D technologies and image extraction trajectories cast over interplanetary objectives. Based on game engine renders to photograms, Devotion is a post-cinematic cave that takes place on a simulated Mars landscape.

buffer, swoosh!

buffer, swoosh by Jetty's Mod (Erdal Bilici & Beth von Undall)
an interface, a co-workers' team building event
a performance installation
at Overgaden – Copenhagen

Artist duo Jetty's Mod attempts, with their performance installation, buffer, swoosh, to create an immersive narrative, through which the audience, themselves, are invited to become actors or participants within a cinematic scene. By using Overgaden Institute of Contemporary Art's entrance gallery as a container for a scenario and by instructing a group of performers with a simple set of rules, defining how they move and how they interact with their surroundings, Jetty's Mod explores the possibilities of an emerging narrative. buffer, swoosh can be thought of as a simulation or a social experiment, with the aim of conjuring a scene somewhere on the film-historical spectrum between Bresson's Pickpocket and Tarkovsky's Stalker.

It's built up as a co-workers' team-building event between the performers. The performers are asked, just by being present, to become the performer – or the inhabitant – of a narrative that, among other things, seeks to connect the complex and tactile choreographies of Pickpocket with the more arcane atmosphere in the zone from Stalker, as the line between the performer and the audience blurs out. Within the unregulated zone in Overgaden, Jetty's Mod activates this zone as a cinematic scenery in order to emphasize the aesthetic potential in the emergent patterns of crowds and to let chance encounters become part of a more meaningful and coherent narrative whole.

Video documentation of the performance installation:

Torso Tvers

Multi Media Installation, 2018

Photographs and film projections are installed in Nikolaj Kunsthal's upper left gallery and former organist's room. These works collectively represent a lineage of still and moving imagery — fine art prints, 16mm films, sound loops, and projections of self-deteriorating moving images. From poetics of cinema and choreography to contemporary internet culture, this body of work tries to conjure a special complex, sinister, and amnesiac symbolism within a former church, Nikolaj Kunsthal.

Torso: Image Movement
16mm film loop projection on linen, 4 channel audio, different variations

Tvers: Moth (I, II, III)
Infrared photographs, double-sided dibond pigment print, 150 × 100 cm

torsotvers.gif
Pigment print on film, 16mm film loop projection on linen, 15 seconds

A Phenomenon

2 Channel Video Installation, 8 min. loop, 2016

Earlier Sketches and Works

Coming soon