The watercolour medium is both demanding and unpredictable in its results. A mistake cannot be concealed in another coat of paint. One has to stay loose with open options and move towards a conclusion that solves problems, rather than fulfill expectations. For me, careful planning and flexibility go hand in hand. With all the risks, it takes a lot of energy to stay in charge when using this medium. It’s easy to end in total disaster.

I use many different techniques, and my method is slow and laborious.There are endless variations lying in the process of pigment meeting water. I often apply numerous thin glazes of transparent colours, and work my way slowly towards a result. I keep the glazes very delicate in order not to lessen the transparent nature of the medium. The result must be transparent and simple. I want my paintings to «shine». Painting large size watercolours is a challenging task. Preparing and taming the paper is a craft in itself. For me a high degree of technical skill is essential in art, and I try to be a good craftsman.


My paintings often have a blue tone. Living in the northern, arctic part of Norway, one lives in the midst of a grand and wild nature. In the dark mid-winter period, the sun is below the horizon for two months. This is the part of the year I prefer. It gives me peace and quiet and concentration to work. I often find motives by observing the twilight nature. The faint reflection of daylight on the northern sky is the most interesting with its sophisticated, deep blue and mauve nuances that appear only this time of the year.

I don’t focus primarily on the motive. I seek to recreate the atmosphere in an experience. It is the ethereal room of colours and light that interests me. I am drawn towards large surfaces. Always using  a limited palette - letting nuances play and creating space, light and atmosphere. Painting an untouched landscape is for me a journey to the mysteries - to the depth of our perceptions.