Initially I borrowed the word "perverse" for my works from Roland Barthes, meaning pleasure-driven and not geared to inform or promote a service or a product.

I'm experimenting and pushing as far as I can. I typically don't know what I was aiming for until I see what I ended up with. Then I can study and choose.

Making photographs can be a way for me to bring something up and into consciousness, something either shared or individual.

It's easy to play fun forms, surfaces, and languages against each other. Teenagers do this every day, producing winning memes from random patterns. I need the joke to hurt more; I want it to sink deeper than the postmodern grin.

I am fascinated by how images and motifs move between and adjust to different cultures. I'm a Norwegian living in Los Angeles showing a photograph inspired by Japanese image culture in an American beach town named after a sinking city in Italy.

Tactility was rejected in conceptual photography. I embrace the possibilities of my medium. Surface, texture, and tactility is something analog photography can do well, or it is something I can do well in analog photography. It can be hard to know what or who is in control.

Los Angeles made me less interested in making my images move. Everything is evolving and regressing. It can be hard to pinpoint which changes are linked to place. I believe California has made me more polite. I get a little surprised when I rediscover how direct and rude Norwegians can be.