I understand your way of conceiving images as blurring the distinction between high and low culture, art gallery and the internet; a way of making the aesthetic approach more easy and playful. Do you have something to say about that?

I have of course noticed that contemporary art now looks very much like Art again. As a photography student in Scandinavia in the mid 1990s I would’ve been embarrassed to make images that loudly said Art when appearing out of context, like on a bus or in the weekend supplement of a newspaper. The ideal was a picture that needed the white cube to read like art. Instead of looking at fine art practices in photography, I would buy magazines about cooking, bodybuilding, dog breeding, interior design, and so on, and look for fresh pictorial spaces and untapped picture ideas there. At the same time I was disappointed in the object qualities when I got to see the work of, say, Cindy Sherman and other pictures generation or conceptual artists in exhibition. I wanted my exhibited photographs to be worth studying up close, like the pre-impressionist paintings that caught my attention from the walls of old art museums. I still visit those painting collections.

Your images are playing with ambiguities and discomfort. Is there something specific that you want to trigger into the spectator mind?

Nothing specific. What’s more effective I find is the ambivalent and unspecific. I want individual responses to individual images, I do not hold the key to their interpretation. I want to keep the spectators in the process of looking. I’m interested in how an image reads differently as time passes as well as in different cultures and contexts.

You are working with analogue photography, right? Is it a way to express resistance?

It shows my age, doesn’t it? Age and maybe a lack of interest in cameras and in new technologies. Film photography is like painting in oil by now: it has very few uses outside of art production. So it may seem strange that I haven’t left the ship, but the process allows me to make blind mistakes, and I find these accidents miraculous and productive.