"What were the thoughts behind “Chairs”? When I begin a painting, it never stems from deliberate thoughts but rather from a feeling or a sense. Or rather, when an idea does come from a very conscious, calculated thought, I quickly realize that it feels false and superficial, so I stop and wait for something that feels genuine to emerge.

That feeling, however, came to me when I conceived “Chairs”. I’ve always been drawn to the absurd and the surreal, but for it to feel right to me, it has to be in a way that feels real. Vast landscapes with elephants on matchstick legs towering above the clouds don’t speak to me. It only works for me if I can truly imagine the scene existing in reality.

It’s the sense of stepping into a room that initially appears very ordinary, only to slowly realize that something strange is happening. Suddenly, you’re unsure which way to turn, and the longer you stay there, the harder it becomes to distinguish up from down, to navigate what is real and what isn’t. That feeling is something I love, and it’s exactly what I sought to create when I made “Chairs”."

"Normally, I am not one to try to describe the thoughts and inspirations behind my works, as there are rarely any deliberate ideas guiding them. Instead, they emerge from a sense, a feeling—something that feels wrong to attempt to capture with words. But still, I’ll give it a try. The idea for “Bench” came to me in 2022, in the aftermath of a time marked by isolation and lockdowns. Copenhagen was desolate, and silence hung in the air. I believe the concept for “Bench” grew out of that calm, surreal, and lonely feeling of experiencing both the city and myself undisturbed, without the distractions and stimuli of other people. The cobblestones, the lamppost, and the bench are all elements I associate with Copenhagen, while the barren, distorted landscape serves as a symbol of the strange atmosphere that period brought with it."

“Table and Flower” is a piece I created for my brother in 2024, originally intended as a tattoo. The inspiration behind this work was to envision something as ordinary as a table adorned with a vase of flowers in a magical light. I cherish the idea of stepping into a room that seems commonplace at first glance, yet upon a second look, one realizes the peculiarities woven into the ordinary—like a vase with flowers standing upside down on a table, or a chandelier rising from the floor. Such delightful oddities! In truth, this may be my way of inviting others to take a closer look at the familiar things we often overlook and take for granted, for when one pauses to consider, they are indeed wonderfully strange. Beautiful, yet undeniably strange.