THE INNER ROOM
"THE INNER ROOM consists of my most personal artworks — paintings, and experiments inspired by emotions, memories, and inner visions.
In my work, I explore themes such as fear, self-image, vulnerability, and transformation. Some artworks from specific experiences, while others artworks from dreams, thoughts, or lingering moods.
The series moves between the figurative and the conceptual, between the sensory and the mental.
Selvaccept
An exploration of the body, identity, and self-acceptance, where trauma and pain can be confronted without fear or shame. The works reflect a process of understanding, forgiving, and finding balance—but also leave room for humor and absurdity.
Pencil Test
The "Pencil Test" began as a personal journey toward accepting my body as it is. The series is based on the absurd “pencil test,” in which the value of breasts is reduced to whether they can hold a pencil.
Through neon colors, humor, and diverse body types, the works explore ideals, shame, and self-image. The series is both a challenge to the expectations placed on the female body and an attempt to create space for self-acceptance.
The sculptures are made of ceramic plastic on reclaimed floorboards and painted with hand-mixed neon colors.
* The set is sold only as a complete set
DIGITAL ART
My digital art explores psychological and emotional themes such as fear, nightmares, self-image, and longing. The digital medium allows me to work with movement, sound, and layers in a way that differs from my physical artworks.
Some artworks directly from personal experiences, while others navigate the realm between dreams, memories, and inner imagery. Several of the works exist both as digital artworks as physical giclée prints.
Soulscapes
Soulscapes is a digital series that explores fear, nightmares, and distorted self-images related to my CPTSD.
"Snake Nightmare " is a looping video with sound, based on recurring nightmares. In " Mirror Dissonance," I explore the experience of a distorted self-image prior to treatment and diagnosis.
Conceptual
KRIG 2004
War (2004) stems from both the U.S. war on terror and my own inner struggle following a destructive relationship and a subsequent assault by someone I trusted and admired. The series explores questions of peace and trust when both the world and our inner selves are under threat.
The works are graphic and symbolic, featuring barbed wire and torn canvases that symbolize physical and psychological captivity. War marks the gaps with smoke and gunpowder residue; No title, consisting of nine small paintings featuring rubber, metal, and steel wire, has unfortunately been lost.
Mennesker
People are curating a selection of artworks relationships, closeness, distance, and vulnerability.
In *Couple by the Window*, I explore the relationship between light, absence, and closeness. The light from the window falls onto the floor around the couple, while the wall behind them remains empty. I wanted to create a sense of stillness and something left unsaid between the two people.
"Together" depicts two hands in a quiet gesture of connection and unity. The work was later auctioned off to benefit the victims of the 2004 tsunami.
"Woman" is about resilience and strength. Her gaze meets the viewer’s directly, while the light and the dark color palette emphasize a sense of both vulnerability and defiance.
Before Insight
These artworks created at a time when the darkness was still unprocessed—before I began to work through my CPTSD (Complex Post-Traumatic Stress Disorder). I longed for light and lightness, but did not understand my own pain. The paintings are characterized by a sense of distance and graphic expression—an attempt to bring order to the incomprehensible.
To follow this journey, the paintings should be viewed from the bottom of the page and up, so that the story unfolds in the order in which they were created.
Sommerlængsel 2013
"Longing for Summer created for my first exhibition after a break of several years. My life had changed—I had met the man of my life and had a daughter—but my soul still ached, unconsciously marked by complex PTSD. The series expresses a longing for summer, joy, and lightness—things that were present but unattainable because I didn’t understand my own pain. The works are graphic and detached, inspired by the Danish summer—the light, the beach, my in-laws’ terrace, and the offshore wind turbines in the Øresund—and capture moments of peace and connection amid the pain.
Autumn 2004
"Autumn" stems from a deep sense of loneliness and abandonment, reflected in three paintings that capture the nuances of this state. "Boy by the Lake," begun in 2004 and completed in 2013, depicts a boy who is physically and psychologically isolated in a world to which he no longer feels connected. *Boy by the Autumn Lake* transforms loneliness into abandonment, with the boy far away, surrounded by abstract red trees and sailboats. The third painting, inspired by Erik Satie’s piece *Gymnopédie*, depicts a gray autumn beach with seaweed and indistinct figures, where love and community are fading away.
11. September, 2003
“September 11” is based on my own photographs and memories from that day and the week that followed. “WTC” shows a yellow New York taxi—perhaps the one I was supposed to take myself—on a day that was abruptly cut short by the disaster. In *Ashes*, we stand on the Brooklyn Bridge Park Greenway, surrounded by smoke and ash, while silence and the sound of small transistor radios filled the air. *Give Blood* shows Times Square deserted, with appeals for blood donations, while we were still hoping for survivors. The series depicts chaos and grief, where personal trauma meets collective history.
Sommerfugle 2003
The series *Butterflies* consists of seven small paintings on square and round canvases. It came into being during a time of deep loneliness, when a yellow butterfly that appeared in my living room on repeated evenings became a symbol of transformation—from chrysalis to freedom. I experimented with texture and form, including crackle effects and acid treatment, which altered the appearance of the background. The butterfly became the symbol of my journey from loneliness to change and growth.
Spiaggia 2002
Spiaggia—Italian for “beach”—marks my first step back into art after years of silence and abuse. On a trip to Sardinia, I found inspiration in nature and people, and I painted on hardboard left over from my apartment's renovation—a symbol of newfound freedom—with sand from the island mixed into the gesso as a textural reminder of the beginning. The series of four artworks around traces: footprints, loneliness, community, and the seagull’s fleeting shadow as a symbol of liberation.
Art School Years, 1987–1990
ABYSS
The paintings from this period stem from a deep inner pain, marked by violence, bullying, and loneliness. Art became my sanctuary, where experiences I did not yet understand took shape. My early artworks abysses, barren landscapes, and vanishing trees—images of isolation and fear, but also glimpses of longing, where a window or a light opens onto something greater. They portray not only pain, but also the uncertainty of standing on the edge of a life I did not yet know how to live.
Alle Serier i DET INDRE rum
All series can be viewed in their entirety via the links below
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