Making photographs can be a way for me to bring something up and into consciousness, something either shared or individual.

I'm experimenting and pushing as far as I can. I typically don't know what I was aiming for until I see what I ended up with. Then I can study and choose.

Los Angeles made me less interested in making my images move. Everything is evolving and regressing. It can be hard to pinpoint which changes are linked to place. I believe California has made me more polite. I get a little surprised when I rediscover how direct and rude Norwegians can be.

Initially I borrowed the word perverse for my works from Roland Barthes, meaning pleasure-driven and not geared to inform or promote a service or a product.

It's easy to play fun forms, surfaces, and languages against each other. Teenagers do this every day, producing winning memes from random patterns. I need the joke to hurt more I want it to sink deeper than the postmodern grin.

I like to put a single photograph in different contexts, to see how it takes on other meanings, how being locked in a new dialogue exposes another potential. It's like dating other people in order to get to know yourself.

I'd like the photographs to potentially be meaningful to a wide range of people. They do not grow out of the reportage mode, this was always clear to me. Personal imaginations blend into each other and create our visual cultures. No one is a neutral observer of this field.

Initially I borrowed the word “perverse” from Roland Barthes, meaning pleasure-driven and not geared to inform or promote a service or a product. An unproductive photograph designed to keep you in the process of looking is of course something larger than an expression of aberrant sexuality.

I often have to feel my way through the alternatives. The 99-cent store is attractive because it offers objects that aren't promoted in glossy magazines. The work then becomes a form of alchemy.