Mouvements, 2018, photography.
The Mouvement series reveals nuanced details in digital imaging technology. The images in the series are inspired by the tensions in resource mining and usage, specifically oil and water.
Oslofjord waters at sunset, visualise iridescence. The materiality of digital imaging technology, distance in viewing, and surreal representations in water forms are highlighted by minuscule film grains amplified after film scanning.
Knowing water is an empirical and philosophical endeavour. Knowing what we are doing with technology, requires looking. Looking closer and into the way something appears through considering the resources are looked at.
The motives involved in progress, technologies, and territories involve parts that never truly mix, yet join in the visual fields in the series. Oil and water becomes an elemental allegory for technocratic times.
As Roland Barthes writes in, Death of the Author, in reference to text and reading, the way an image is read becomes realised as a malleable surface. The natural beauty of the water is transformed by the hypnotic colour palette of screen technology. The viewing distance is activated in the way the images create a sense of movement in stillness.