Meeting Félicité. 1999, h 4 m, w 2.44 m, d 3.92 m. Plywood, MDF-board, glass. UKS gallery, Oslo, 2004

Part III, 2000, h 167 cm. Polyester, linen, wood. Arnstedt & Kullgren, Östra Karup, 2000

The scene or the event I have in mind is akin to the torpor that makes you a visitor in your own dreams. Despite your being a spectator, and not really knowing how you ended up in this place, all of a sudden you are both a party in and the cause of an encounter. As the silence is absolute and there are no words to be had, the narrative has to be somewhere else, perhaps in the architectural framework. The space and the encounter are, respectively, the physical and the mental condensation of a narrative into a moment.

Part 1:

There’s something stale, oppressive, and rather noxious about the setting; nonetheless, it has a certain lurid attraction. She’s very anxious, very concerned, but may not know what for or what about; it’s been a long time since she got here. She stops halfway down the stairs, fixing me still with her gaze. I remain downstairs, holding back, irresolute.

Part 2:

Point of departure: a short story by Flaubert

An incomplete life, having endured such a wealth of repression that it’s questionable whether it can be called a life any longer, is redeemed at the very last moment. An exceedingly mundane creature metamorphoses into an ecstatic vision, of a spiritual or an erotic nature.


In 1220 Thibaut (born in Troyes about 1201, dead in Pamplona 1253), king of Champagne and Navarre, also known as poet and composer, married Gertrud, daughter of Albert, count of Metz and Dagsbourg. Two years later he repudiated her for reasons of barrenness and consanguinity. In 1239 Thibaut, who was possessed of the true chivalric spirit, responded to the appeal of Pope Gregory IX exhorting Christianity to set out on a crusade to deliver the holy places. The result were disastrous for the crusaders who where routed by the Muslim hordes.