Category Archives: Installation

Peak Performance (2006) Västerås

Installation with: Children paintings, sound,  light and video.

Västerås Konstmuseum, 2006

Platon’s cave inverted
In the autumn of 1999 I recorded the sound from a grasshopper in the countryside of Malmö. The sound appealed to me in the various meanings of manipulation of the nature, artificial or natural. Then some weeks after I contacted a day nursery because I wanted to have the children’s paintings as an opposite element to the low pressure sodium light. This sodium light produces a special phenomena in that it only has a peak in the spectrum of 589.0nm – 589.6nm producing a monochrome environment. The strobes acted as a link between the paintings, light and the sound in that it shows the colours of the paintings when the strobes are active in the space. I wanted to keep the age of the children quite low as an indexical element of their positive interests in colour and composition. The setup is arranged so that a layered inner room exists within the space.



Schematically the installation is a layered structure:
1) Audio recordings of grasshoppers
2) Colour paintings and participation of Target group (children or other group)
3) Low pressure sodium lights (could also be visible outside the gallery at night as well)
4) Strobes activating the space and the linkage between the elements
5) Interaction with audience during the exhibit (moving in the space, setting the flashes on with motion detectors)
6) Information about the procedure of the piece with documentation video connected to installation




The children’s paintings and performance – video documentation
This movie shows a small discussion we had with the children before they went up to the space and started create different kinds of insects and grasshoppers. This was to assure that everyone of them understood their part in the process for the final piece. We talked about why I came up with this idea on grasshoppers and their special sound they make. We noticed that not everyone hear the sound from them and we also listened to the sound for remembering the high frequency and for grasping personal memories.

In addition to the installation a video was showing our discussion we had with the children and their participation and paintings.


Slide show
Images from the preparation where the children paints in the installation slide show >>>>>>
photos by Anna Lindén, Västerås Konstmuseum

text available at the installation (Swe) pdf >>>>>>>>>

Thanks to:
Hammarbyskolan, Students and Teachers

Peak Performance (2002) Umeå

Installation with:
Children’s paintings,
the sound from a grasshopper,
low pressure sodium light and
IC controlled strobes (revised element for this exhibit).
Constructed walls (for inner room)

Gallery 60 Umeå, 2002


In the autumn of 1999 I recorded the sound from a grasshopper in the countryside of Malmö. The sound appealed to me in the various meanings of destroyed or undestroyed and artificial or natural. The children’s paintings became an opposite element to the low pressure sodium light that only has a peak in the spectrum of 589.0nm – 589.6nm producing a monochrome environment. I wanted to keep the age of the children quite low as an indexical element of their positive interests in colour and composition. The strobes acted as a link between the paintings, light and the sound.

Umeå 2002, Documentation movie from the show

will be available soon from youtube

Introduction text avaliable at the exhibit, pdf >>>>>>>>
Girl in action, painting grashoppers or insects

when flashes went occationally on it looked like this above

Peak_Performance_docu_insiMmostly it looked like this above (when flashes were off)

Boy in front of camera, in the background his own drawing

Girl in action, painting spiders

The Space (the inner room inside the gallery space)

outside Gallery 60 (the sodium light was on 24 hours)


Thanks to:
all at Sandbacken’s day nursery, Umeå!
special thanks to Jan Norlin
Philips Light Sweden

Closer to the Sun (2002)

arrangement with:
Drawings and paintings from children  (3-7 years)
Drawings and paintings from elderly people (75-90 years)
Ultraviolet flourecent light
Daylight flourecent light
Coloured flourecent light
Two video sequences
Improvised piano sound

exhibited at:  Tapper-Popermajer Gallery , Malmö (2002), commissioned work

CTTS_child1_parti_action_flChildren in action, two days before the opening.

“…There is a trivial sense in which everything is at least potentially conscious.
Any particle can convert to a photon which can undergo photosynthesis and get
incorporated into, say, a lettuce leaf, and up in my brain, which I know is conscious.
So even if we don’t obviously live in a world in which everything is conscious,
we live in a world where everything is potentially conscious… ”
Liane Gabora, Journal of Consciousness Studies, vol. 9, No. 8, 2002, pp. 3-29


Installation spaces:
Room 1: Daylight – Children’s paintings and bright flourecent light (will contain some UV-radiation)
Room 2: Yellow – Two videos and sound from a piano improvisation in a yellow room
Room 3: UV light – Eldery’s paintings and UV-flourecent light

Children paints before the exhibit

Video still image from computer animated video using AL algorithms with a Sun in it. (Re-cycled from the video work “The Replicator” (2000))

 Audio except from the improvised piano


Video still image from a robot making typical robot movements with a paper sun

Painting by Woman around 85 years old

Painting by Woman around 92 years old

CTTS_docu_3_table_wall2ALLPaintings and table

Exhibition infosheets (visitors introduction to the piece)
English, pdf >>>>>>>
Swedish, pdf >>>>>>>

In news:
Regional TV4 video clip

Special thanks to:
All at Björkhagen’s day nursery!
Kryddgården, Malmö City Geriatric Care
All other participants, old as young
ABB University, Robot Training Centre, Västerås, Sweden
Robot Support/Direction: Wibeke Hansson,
Robot Support/Assistance: Irene Wilhelmson
Applied Robot Programming: Mikael Aineskog
Emil Welin, Philips Light, Sweden

The continuum of Time/Tidens Gång (2002)

Installation and performance with: Four channel sound installation with water sounds, chlorine smell, performance (sweeping the floor, acting as a swimming-pool attendant), floating lines, bathing toys. (site specific)

exhibited: VLT press, Västerås, Time limited exposure, commissioned

”The illimitable, silent, never-resting thing called Time, rolling, rushing on, swift, silent, like an all-
embracing ocean-tide, on which we and all the universe swim like exhalations, like apparitions which
are,and then are not: this is forever very literally a miracle; a thing to strike us dumb, for we have no
word to speak about it.” Thomas Carlyle (1795 –1881)


Play and fluidity
This event and sound installation was a commissioned work for VLT-Press in their new large space for their large daily paper press.  The flow character of the industry in printing daily papers was taken into consideration when hanging the long floating lines.


Typical smell and watch out!
I cleaned the floor with a slight dilution of chlorine used in swimming pools during exhibit. I warned people to not go so close to the blue fictive pools and blowing in a whistle.

Text available during the exhibit (Swedish) pdf  >>>>>

This work was curated by Joachim Granit, Färgfabriken


Year Clock (2002)


arrangement with:
Installed working year clock (IC controlled LED display), poem in connection to clock (variates on site).

exhibited at:
”Artists, Junkies and Adventures”, Kulturhuset, Stockholm,2002

“…our entire concept of time is dependent on an understanding of periodicity. Time is depending on night and day, the periodic rotations of the plantets, the stars, the periodic functions of our bodies and the seasons, all of these various periodic events, and without them we really have no concept of time. Time is really a very important aspect of universal structure.What I have learned is it goes very slowly.”

La Monte Young (interviewed by David Toop, Ocean of Sound -Serpent’s Tail, London 1995- p.178-179)


C controlled LED display sign at the entrance floor of Kulturhuset, Stockholm and a poem on a wall under the clock.

Formless  time
We try our best to match our life with our society, sometimes forgetting our relation to larger cycles since we are so occupied with our smaller cycles. The need for the extra large clock in this space demanded for an afterthought and polarization. Time can be seen as emptiness in its most formless non-material state. The slow movement of the digital display had a relation to its over-informative character .
Poem under the clock: