Living in the middle of the Wadden Sea, a UNESCO World Heritage Site shared by Denmark, Germany and the Netherlands, I find my motives in this spectacular landscape formed by water, wind and sand. On my home island Fanø waders and sea birds are always present in huge numbers. Their behaviour and reaction to the turning tide, the storm surges and the ever changing and dynamic landscape is a constant source of inspiration. Feeling strong connected to the cultural and natural history of the Wadden Sea, I have a wish to express and show my intimate encounters with the area's wildlife, which is out there very close to people, but often not discovered by the public. Through artwork the public interest obviously increases, and the personal experiences and creative process leads very often to dialogue and fascination, for both the artist and the audience. My aim is to capture the moment and certain situations in the sketchbook or directly in a watercolour, and also studio work contains an element of what can be called 'nature journalising'.
Due to my job as nature interpreter on Fanø, I am surrounded by birds and motives every day. The sketchbook is always in the bag, and quick sketches are often made while having a break or when I stumble into an interesting scenery or a group of birds. For many years the sketchbooks were used as reference material for studio work, when sitting nice and comfortable back home at the table. While most “finished” work was earlier made in the studio, I prefer these days to go on directly with proper sheets of paper with birds and wildlife still in front of me. The spontaneous and faster way of drawing and painting adds an energetic feeling and an impression of “being there” in the line and colouring, which I also of course feel very strongly while working there in the field. And most of all the act itself, the way of drawing and experiencing, is very focused and mental giving. On the other hand, working in the studio results in more considered compositions and other ways of working. After having worked maybe for months on more detailed birds paintings, it is a pleasure to go back to printmaking for a period. To simplify things and try to drag out the essence of a species or an experience is not only a necessary goal when doing a linocut, but also good practice in general when working with wildlife as motive. Drypoint and linocuts have come to take up much of my time in the winter months, when strong wind, rain and low temperatures make it hard to sit out all day sketching. Although one has to go for it, as winter skies and colours are often very inspiring.
Naturlige iagttagelser, Fanø Kunstmuseum, 2016
Fugl, Johannes Larsen Museet 2016
Watt´n Glückwunsch, 30 Jahre Nationalpark, St. Peter Ording, Germany, 2015
Vadehavets fugle, DOF – Birdlife Denmark, 2006
Several exhibitions with the Danish Artists for Nature and Environment since 2003