Contemporary issues both large and small are of interest to me in my photographic work. I have been an active photographer since completing my photographic studies(at Nordens fhsk Biskops-Arne) in 1994. My Images emerge through solid photographic craftmanship steered by the analytical talents of the anthropologist and guided by the aesthetic eye of the artist. My photgraphic work has been supplemented during the years by studies in social anthropology as well as the art of exhibiting, images as a social phenomenon and philosophy (especially aesthetics).

Visual Anthropology

I have a B:A. in Social Anthropology from Stockholm’s University, where I was especially interested in Visual Anthropology. Visual anthropology focuses on the understanding of an image’s social and cultural significance. Social Anthropology has given me good analytical tools with which I can penetrate the surface of cultural and social phenomenom. Digitalization has led to unlimited access to images but at the same time there is a limited understanding of how this abundance effects our ways of seeing and in extension our ways of being. My aim is to create images that combine commitment, science and aesthetics.

My interest in examining the artistic from a scientific basis prompted me to study the globalization of art as a major part of my B:A.. Theorectical knowledge helps me comprehend the complexity of problems around us, both in the larger perspective but even in more intimate surroundings. My camera gives me an opportunity  and a way  to approach others. This means that i can easily fit in amongst different environments meeting a variety of people. It might be on the steppe in Mongolia (at an ”Art Camp”), in a monastry or amongst shamens in Nepal, amongst feminists in Colombia, Butoh dancers in Sweden, among refugees on the Greek islands, or in the Studion at Stockholm’s Culture House (At the exhibition ”My Generation” featuring lifestyle/bodyart).

Phenomenological perspective

A phenomenological   approach implies that one is forced to develop a philosophical way of seeing in how one views the world. The question ”how does the world reveal itself to us?” demands an unconditional approach to the subject. Images help people create meaning in existence and  photographers have to meet the subject of their inquiry with a phenomenological gaze. We are forever confronted with experiences whose meaning, implications and importance are conditioned by reflexitivity, linguistic, social and cultural constructions. How we experience is just as important as what we experience.

A photographer must have good intuitive qualities if he/she is going to be able to capture the subtle nuances  that form the basis of the field of their inquiry. I prefer street photography, that reveals life in all its random confusion and does not try and present existence from a preconcieved documentary approach. Chance and accident are essential allies in the search for images that surprise us with unexpected moments.

Aesthetics and Ethics

The refugee situation on the Greek islands awoke my interest. There were photographers taking photographs all over the islands and the refugees themselves took lots of selfies when they came ashore. I am interested in all aspects of the aesthetic process and how images of refugees are created, distributed and interpreted, but the major reason that I traveled twice to the island of Lesvos was to work as a volunteer. One could say that it was ethical considerations (The betrayal of the EU towards refugees as opposed to the heroic contributions of volunteers) that awoke my interest for aesthetical considerations. My part in everything has, to say the least, been fairly fluid.  Sometimes the situation was so chaotic that the emphasis was on participation rather than observation

Alternative Processes” The antiquarian avant-garde”

During my studies in the History of Photography (Konstfack Stockholm) I was given the possibility of closely examining an area that had long fascinated me: the preservation and development of antiquarian photographic processes in today’s IT- society. The digital revolution seems to have awakened a curiosity and creativity (within an area  regarded by many as passé) rather than totally  eliminating analogous photography.

During 2002 I participated (in my capacity as chairwoman of KFN [Women Photographers in The Nordic Countries) in a project entitled ”from Alternative Processes to Digital Techniques”. The project contained workshops that inspired the development of individual images as well as invidual techniques.  During two exciting courses ( ”Acryl  based computer graphics 1 & 2” at Kyrkeruds Fhsk) I learnt so called non-toxic grapic processes where we mainly used riston film. I work a lot with alternative processes, mainly with gum bichromate and photogravure. It is vital to preserve and develop old methods that create more possibilities to express oneself in images. One can realize an image’s innermost potential through solid craftmanship.

Please contact me at or  +46(0)707-99 24 90