In the photographs and paintings, Ø, and its multiple variations, has been transformed by the artist into a symbol of the universe and its indecipherable structures. What really is an Ø if not an infinite variation of ‘what is’ without knowing if there is an entry point or an exit point? Is the circle more important than the slash? If the universe is the circle, is the slash the representation of time? Which of the two (the circle or the slash) defines and determines the other? In this context, is time defining the reality of space, or is it space that defines the reality of time?
These aesthetic questions—which directly and indirectly fill the content and the absence of it in the artist’s works—mesmerized and baffled the viewers, who were invited by the artist to enter a world in which what is thought is not necessarily what exists and what is not is not necessarily what may not be once it is thought of, imagined, or placed on a canvas with a brush.
The artist embraced the visionary statement of the biennale.NO that allowed him to explore and engage with the city of Gol and other sites in Norway as phantasmagorical notions of reality and unreality which, as philosophical notions of ‘what is’, both affirm and negate the definition of what exists and what doesn’t, what is truth and what is falsehood.