Kolding Design Skole (Kolding Design School) in 1985-1990
Arkitektskolen I Aarhus (Aarhus School of Architecture) from 1990 – 1992
Established own art studio in the center of Aarhus in 1994
Co-creator of the School for Art and Design in 1995
Teacher and adviser at the School for Art and Design since 1995
After completing my education, aside from daily work in my painting studio, I have done creative projects and art installations for private and public organisations. These projects are typically quite large and comprehensive works where my roll as artistic leader, adviser and motivator is to coordinate the many participants to complete the job. The experience of working together with so many people on these projects is wonderfully unique. When the group effort is at its best, the euphoria of working toward a common goal is amazing and truly reveals what the participants are capable of when the pressure is on. The participants are often art or design students and their work is remarkably professional.
For many art viewers, the first impulse when viewing a piece of art is to search for meaning or narrative. I think a visual art should appeal to you first visually. As a painter, I get this question often as to what my art means. It’s hard for me to answer this question because as an artist, I have tried to paint what I feel using visual language. I wish I could express the same emotions using words but then perhaps I would have been a writer or poet and not a painter.
However, I will try in my best ability using words to briefly shed light on this issue and describe my painting process. My paintings directly relate to what I experience trough my senses. I paint only based upon an intuition which compels me to express, explore and contemplate. Like a music piece that can inspire an urge to dance, my paintings are an expression of my emotional energy to dance along with inspiration I receive through my senses. These inspirations are in visual language rather than literal and hardly can be translated into words. Therefore it is best to be experienced through the same channel. Most of the time the feeling I have is not explicit. Like dreams they are chiastic. And I don’t wish to control them fully; I rather let it flow then create a balance between chaise and control. Moreover, because I relied on Intuition as the Basis foundation of my creativity, I don’t desire to lose the intensity of my intuition by censoring the figurative representation of my work to meet conventional social values. Usually, consideration, Critical Thinking, and intellectual analysis come later upon the completion of the paintings. I suppose my senses and emotional intelligence works stronger and faster than my intellectual aptitude.
The other question I have frequently been asked is related to the reoccurrence representation of female nude in my paintings.
I think “man” is the Nature’s Greatest Masterpiece in form and function. A human is a beautiful thing and a powerful tool to communicate ideas about the human nature. Female nude in various poses, in particular, can exhibit exceptional aesthetics beauty and display complex emotions. Furthermore, to express ideas related to the woman’s nature, it is natural to expect it in innate human form.