I am currently in my third week, out of five, of my landscape painting project. My objective has been to delimit my painterly approach by working from three principles derived from Romantic art history: composed landscapes, inner vision over external reality, and the demand for artistic integrity. The primary aim of this project has been to test the boundaries of an individual, painterly engagement with a Romantic mode of expression. The secondary aim has been to grant myself

This marks the beginning of two large-scale landscape paintings. Reading about Anna Boberg https://kunstkritikk.se/man-andas-med-vindens-andedrakt and — Caspar David Friedrich “The painter should not merely paint what he sees before him, but also what he sees within himself. If, however, he sees nothing within himself, he should refrain from painting what he sees before him.” I’m using the art history era of Romanticism as a platform for my new landscape project. -What happen

Zigge and Me In my painting, I explore the body as a carrier of both history and contemporaneity. The nude man recurs as a motif—not as an ideal, but as a site where notions of strength, vulnerability, and identity meet and create friction. I am interested in how masculinity is shaped, maintained, and can be renegotiated, both in relation to art history and to our own time. By working with traditional oil painting, I engage with a legacy in which the male body has often been