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.

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.

I've found that photographs from different genres can be extraordinarily generous with each other. I started out photographing myself in a landscape, moved on to landscapes with and without other people, and then onto buildings, still lives, portraits, and body parts in rooms. If certain aspects of my production are getting more attention right now I think it is directly linked to a general absence of dreamed bodies in contemporary art. Viewers who mainly follow fashion have most likely not noticed this lack.

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

I often have to feel my way through the alternatives. The 99-cent store is attractive because it offers objects that aren't promoted in glossy magazines. The work then becomes a form of alchemy.

I like to put a single photograph in different contexts, to see how it takes on other meanings, how being locked in a new dialogue exposes another potential. It's like dating other people in order to get to know yourself.

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.