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I am a Danish-American artist with a studio in the Hunter’s Point Shipyard community in San Francisco.

With a background in fashion and product design, my paintings serve as a visual diary and tool to process my personal experiences and observations. I focus on continuous line work within figurative acrylic artworks to embody universal emotions that facilitate human connection. I believe that in the same way the physical body uses the movements of gesture as a language, the spirit uses energetics. I materialize this invisible energetic language by distilling it into a single, continuous line of intrinsic and intuitive movement.

Beyond self expression and reflection, my intent with my practice is to spark a feeling within my audience. Whether it’s inspiration, relatability, a giggle...anything that makes the viewer feel alive and connected represents success to me.

Tied Together documents the dichotomy of internal tension I experienced between individualism and the collective while living in Mexico City. My most immediate and prominent cultural observation of the local people was their focus on community and connection. Through this series of abstract figurative works of recycled acrylic on paper, canvas and ceramics, I seek to visually materialize the energetics of the collective local human spirit by depicting specific moments I experienced living in this city.

Primarily, I was struck by the local people’s comfortability in physically expressing human connection through touch (and greatly reduced personal space); whether it be lovers in the park or strangers on the metrobus, people embraced connection. Particular episodic moments involved hoards of people attempting entrance/exit on the metro during rush hour and the kind gestures of strangers lending hands for support as people wrestled to make space.

After all, regardless of social-economical status, every person is treated equally while pushing for space in such a situation. More generally, I noticed more clusters of people as opposed to individuals moving through the city, especially romantic partners; parks brimmed with PDA as lovers spooned on blankets or spontaneously made out waiting in queues.

In terms of color and pattern, I was inspired by volcanic rock used in many building wall facades. I drew upon the wall lattice patterning and rich inky onyx hues for figure placement and color palette referencing. The collective is energetic, varied, and exists in juxtaposition with the individual. Because of that, my intention with these works, from the french milled papers and ceramics to a single tangled line tying multiple figures together with shared limbs, is that my audience might reflect on how they contribute individually to the whole with every social interaction.

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