I have a need to record and analyse emotionally experienced reality in my works. I see photography as a way to record easily shareable memories, evidences. Behind the documentation that I display often as the finished piece, is a long process of building installations and making sculptures. I usually use my home as the setting for my art, which means that I might live in the installation for weeks or months. I find the creation process to be equally as important as the finished artwork, making performance art a part of my practice. In other words, my art practice has a symbiotic relationship to my domestic life. ​ I use fractal forms at the base of my practice. By bringing fractals into a domestic space, I build connections between nature, built spaces and the body, merging in their boundaries. The fractals are like mycelia, mostly unseen but connecting separate organisms into a bigger network. Autotheory and making sense of my everyday life experiences is at the core of my practice. With my sculptural pieces I might show just half of the original installation; such as my bed sawn in half. By doing this, I’m reminding that what I show in my works is just my view of certain life events; not the whole truth. Similarly to the root like fractals, I attempt to reach further, deeper into what my experiences are about. ​ I like to think of my works as a form of imagined forensic science. I’m letting the viewer decide how, why and what has happened; what kind of feelings and motives are involved. Every art piece is autobiographical, yet in a staged and abstracted way. I use drawing to merge different elements from psychology text books and nature into one, to see if I find new ways to illustrate my inner worlds.