Illuminations started in 2002 when my relationship with was slowly falling apart. While trying to save our relationship we rented a large stylish apartment in Stockholm, hoping that a change of scenery would have a positive effect. The space made the distance between us more acute, and the inevitable break even more obvious. 


I started photographing my partner and myself every night, placing a view camera in front of our bed. The routine of making one photograph each night became important. The camera shutter was left opened for 3 to 8 hours every night in a darkened bedroom, as the beginning morning light arrived the exposure was interrupted. It is a private journal, documenting time and memory, where present meets past. 


Locations: Arles, Stockholm and New York. 


I am fascinated by the boundary between spectator and subject, the idea of looking at and looking back, mirroring and notions of personal identity. In the series, Space Untitled, I have used myself as subject, disappearing and reappearing on a threshold, in a doorway, behind or in front of a mirror. The repetition of fragments the body, as well as the gaps in time, missing parts of a story that exist beyond a direct narrative. In a sense is as much about what you don't see, as what you do see.

The spaces used — abandoned and vacant buildings also speak about fragility and impermanence.

My father left early in my life to start a new life in his homeland Greece. Growing up in Sweden I often felt like an outsider and torn between people, places cultures - Sweden, Greece and Austria. In 1995 I finally moved to New York.

A few years ago my father passed away in cancer, leaving behind some property. My two brothers both inherited houses. Being a woman I was given the very least - half of an old olive grove up in the hills. Could I live in what had been given to me, in what had come to symbolize my inheritance and roots? As an experiment to explore the idea of home and my own personal history, I traveled to Crete in 2010 to spend entire nights in the grove. 

Through the series I try to explore the idea of compressing (and stretching) time through long exposures into the two dimensional frame. Essentially a diary - it is an investigation of time which deals with the physicality, surface and ambiguities of the imaginary and material world. I With this work I wanted to speak about domesticity, cultural and gender identity and my personal/collective history. The representation of the body dissolved and re-materialized through the long exposures functions as a metaphor for impermanence, transience and loss.
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