Publication Release date: October, 2018; Blacklisted Magazine, print publication, featured artist and interview.

Background — Could you just give a few sentence on how you would describe your origin story. Education qualifications any basic reference for your style and aesthetic approach (technical stuff). Maybe a few touchstone references/influences/inspirations.

 I grew up in two households, one filled with adventure and thrilling experiences, the other with two classically trained artists. My love of life and art grew to become one and the same. My childhood creative expression was as a classical pianist who aspired to be a Conductor for a Symphony. Today I find myself composing music via the vibrations of light and the echoes and reflections of motion that are expressed through the fresco medium and experienced by the viewer. At a young age I came to the conclusion that answers to great mysteries and hidden or concealed histories could be found within art; and I gradually understood that I needed a library of information that would enable me to decipher those answers. Personally, I am ablaze with passion for the quest for meaning; the cosmologies of the Norse are particularly influential for me, as my lineage is primarily Norwegian.  However, I have found that Greek, Sumerian, and Egyptian Cosmologies are connected in fascinating ways. Due to my love for the quest, I have chosen to live a nomadic life.  Giving voice to the ancient ways of Wanderers, Nomads, and Travelers are part of the narrative I am expressing.  I use the practice of Artist as Nomad to fully embrace the cosmology of the wild, as well as the rich history of people/place/point/creation.

Technically, I have a Master of Arts degree in Speech Language Pathology, with a focus on neurology, and am currently completing my Master of Fine Art degree, with a focus in Creative Inquiry. I was trained as a Classical Pianist for 25 years and worked as a piano teacher for 10 years. I have been working with the fresco medium for 17 years. It is an alchemical process with endless variables that enable unique outcomes. I partner the alchemy of this process with my additional experience in (non-drug induced) altered state consciousness. I create each piece while in a liminal space, neither entirely grounded in the present, nor entirely out of body. I am educated in the areas of esoteric concepts, mythology/cosmology, and human consciousness, as well as creative writing and prose poetry.  As a conceptual artist, I find abstract expressionism allows my range of interests to be expressed without compression. I use text as medium to guide the viewer into understanding, akin to a topographical map.

There are strong themes of distance and the problematics feeling entirely separated from others and from what around you. Why did song lyrics seem to be the way to go to explore this conceptual territory?

 I feel tremendously inspired by music and the poetry of song lyrics. Vibration endures, and when the vibration of sound connects with the poetry expressed through words, magic happens. I consider my Great Work to be a Visual-Conceptual Sonata with a modern twist that includes expressive lyrics. The title of the sonata is Entanglement: A Love Story. Entanglement, referring to Einstein’s Spooky Action at a Distance theory. In this way, the love story revolves around two particles so deeply linked that time and distance cannot keep them apart. They are the essence of “Non-Being” and the essence of “Being”; or it could be thought of as “The Origin as Love” and “Existence”. The names I have given the two are Via Postel and The Wanderer.

Looking through your body of work, it seems that your focus has been towards materiality; dwelling in that ineffable space of color and texture, which while meaningful, it can be hard to point to exactly what any of these things mean. Even in the description of the project, the lyrics from which these pieces were derived, you describe music as being “communicated through the vibration of sound”. But when these become text something changes because text always attempts, though perhaps it always fails, to want to be understood. What drew you to working with this seemingly more clear cut medium?

 The use of words is a river that guides the receiver toward understanding. The creative combination of words into concepts becomes vast territory engaging our ability to decode an intention; but truly effective communication involves emotional capacity. Feelings that arise are far more complete than a literal deciphering. Sensitive content delivered and received invokes ethereal vibration creating a soul connection with understanding. For me, the message that can be comprehended, combined with the feelings that vibrate emotionally creates a perfect harmony for the lyrics to swim inside.

It seems as though you treat each section of text as something fixed, like a moment in time in which something was felt, and can now only be changed by how much its remembered, what is cut out and what is inflated or diminished. But the internal relationships stay the same. In that way text can seem a little more restrictive. Was it useful to work with these limitations and how so?

 Very insightful question. Thank you for asking. The restrictive nature provides a boundary for memory; memory that lurks as ghost of form. It allows the ghost to be seen. Text is the inking of that ghost. The deconstructing, the reconstructing, the whole; it is as though the only gravity holding the message together is the page it is printed on, and even that is a momentarily captured elusive form that can only exist within Existence or The State of Being. And when you put that into the concept of Entanglement: A Love Story it becomes an excellent way for me to have the two characters communicate with each other, given that one is in a state of Non-Being and the other is within Existence.

We could imagine a version of these works where all the lyrics were included in a single piece. But instead the repetitions make it an interesting challenge to work out where the beginning is and where is the end. Again it is like be frozen in a moment Why was the device of repetition important for you in making these lyrics visual?

 I use repetition as a crucial element, somewhat like an incantation. A bit of magic, a spell of sorts. Recurrence as an enchantment implying a coming back through time. It is intoxicating. The messages carry meaning that spills over into obsessiveness and reaches toward hypnotic.

What projects are you working on right now and what is coming up in the near future?

Presently, I am working on two themes that do fit into the larger concept of Entanglement, and, as with each body of work, they can stand alone.

Warriors is a series vibrating with the many layered veils of past, present, and possibility. A peek through the fabric of fate into a world filled with well-being. The pieces communicate the weight of time. They are Sacred Warriors demonstrating courage and the will it takes to create the future we desire out of the actions of today.

Black Snake Silent is about the snakes that poison individual creativity, uniqueness, and independent thinking. The whispers within that keep us from speaking; that infect us with fear to keep us from vibrating to our individual truth. It is a liberation from the venom that snakes its way into our DNA and passes from one generation to the next. This is about ending the dehumanizing actions against those who do not conform. It is about decapitating the whispers that worm inside, invisible and unheard by those around us.