Research Catalogue

The Varder are a system of marine navigational aids along the Norwegian coast originating from the age of sail. Officially still part of the oldest maritime navigational system still in use, these forms now act as anchors to a physical present. In a digital society losing its patience, the Varder stand in contrast to the accelerations surrounding them: analogue, material, and static.

In the scope of my PhD-in-Art project “Staging the Invisible Elephant that Remains Overlooked”, I investigate collaborative and co-creative work with children as equal partners – from my perspectives as an artist, workshop leader, teacher, aunt, recent mother, and adult friend. The intersections, tensions, and synergies between artistic research and pedagogical practice form the core of my research. Spanning 2017–2025 the work unfolds as an open, reflective process grounded in project-based artistic practice, dialogical encounters, and reflective writing. Additionally, reading experiences in different literary and scientific fields serve as resonant spaces in which insights take shape and intensify. Recurring themes include the interplay of structure and freedom; the negotiation of shared authorship, responsibility, re­presentation and ethics in co-creative work with children across different contexts; and the possibilities and limi­tations of conducting artistic research “at eye level” within school environments. I also examine the potentials that artistic approaches offer in addressing contemporary pedagogical challenges related to digital technologies, social media, and artificial intelligence. In accordance with the principles of artistic research, I understand ambiguity, contradiction, and subjectivity as methodological strengths. I foreground transparency, vulnerability, and the transformative potential of misunderstanding, and I propose ways in which we might relate to one another differently in a complex world and strengthen democracies at risk.

a lesson in the shadows of death entangled moment of frozen fragments embodying sacred movements through air, body, mind, mattering, voicing as if NOTHING

This exposition presents a practice-based research investigation into pattern formation using ASCII and Unicode character systems as primary visual material. Working exclusively within live text environments, the project explores how complex visual and architectural structures emerge from rule-based constraints, repetition, and minimal computational resources. Treating text not as language but as material, the work examines generative logic, duration, and modularity as foundations for sustainable, post-material visual research.

Amazing Patterns presents a practice-based investigation into pattern formation using ASCII and Unicode character systems as generative material. Developed within the broader research context of the ASCII Digital Design Museum (ADDM), founded in 2010, the project operates exclusively in live digital text environments under minimal computational constraints. Treating text not as language but as material, the exposition examines how repetition, variation, and rule-based operations generate complex visual structures from simple symbolic elements. Through sustained, character-by-character construction, the works demonstrate scalability and structural coherence across graphic, textile, and architectural references. Developed through human-authored, rule-based visual systems prior to contemporary AI image-generation tools, the project positions symbolic computing as a methodological precedent and sustainable exhibition model, emphasizing accessibility, durability, and long-term cultural preservation within web-native systems.

Topographies of the Obsolete is an artistic research project conceived in 2012 by
 University of Bergen Professors Neil Brownsword and Anne Helen Mydland,
in collaboration with six European HEI’s and the British Ceramics Biennial.
Emerging through two phases (2012-15; 2015-2020) it has to date engaged
ninety-seven interdisciplinary artists, scholars, cultural commentators and
students from thirteen countries. It has transformed participants’ practices, with
works originating out of the initial research being celebrated on an international
platform. Topographies of the Obsolete has received funding from a variety of
institutions, alongside its core support from the Norwegian Artistic Research
Programme (2013-15 & 2015-17), whose peer review system (2015) rated it
as ‘exemplary… strengthening artistic research and its scope beyond potential
communities of practitioners/researchers’. The project explores the landscape and associated histories of post-industry, with an initial emphasis on Stoke-on-Trent, a world-renowned ceramics capital that bears evidence of fluctuations in global fortunes.