Introduction
The process of creation is often as much about exploring internal landscapes as it is about external expression. For me, concepts—whether philosophical, psychoanalytical, or artistic—play a central role in shaping my work. One concept that has particularly fascinated me is projection, as discussed by psychoanalyst Jacques Lacan. This defense mechanism, with its intricate ties to human psychology, has found its way into my art in unexpected ways, weaving through my visual and written creations.
WHAT I: Concept of Projection
Concepts have always intrigued me, whether in the realm of philosophy, psychoanalysis, or science. One concept, in particular, seems to shape not only individual thinking but also the texture of social life: projection. It’s an idea that is easily understood on a surface level, but only with deeper reflection does its true significance come to light. When properly realized, projection reveals much about our hidden emotions and interactions with the world around us.
Jacques Lacan describes projection as a defense mechanism in which internal feelings are displaced onto another person. For instance, someone who harbors guilt over being unfaithful might accuse their partner of infidelity. Lacan’s distinction between projection and foreclosure adds depth to this understanding, showing how these mechanisms operate differently in neurosis versus psychosis.
This concept is at the heart of my current work. I find myself drawn to the tension between internal chaos and external clarity—how we project order or disorder onto the world around us. Lacan’s ideas help me question how I can visually årepresent this psychological layering in my art.
WHAT II: The Visual Process – French Knots and Love Letters
On the visual front, I’ve been working on two series,
FRENCH KNOTS, by contrast, takes the idea of the dot but transforms it into - 3D embroidered compositions that explore coherence, incoherence, and the complexity of knots. The red thread, connecting and clustering seemingly random elements, speaks to the idea of mental order—or disorder—through the graphic language of knots and clusters.
The concept of clusters fascinates me, not just visually but psychologically and mathematically. In psychology, clusters are used to understand how the mind organizes information, while in math, a cluster refers to a concentration of data around a particular point. In my art, I’m experimenting with how these clusters can be symbolic of internal mental processes—how we make sense of the scattered pieces of our thoughts and experiences.
WHAT III: Writing and Reflection – The Architect’s Paradice
The last few years have been a time of transition for me—moving, learning a new language, and navigating personal loss. Yet through this, I’ve found myself drawn back to writing as a way to process these changes. At the time I was working on my second book, THE ARCHITECT’S PARAdice, which was made possible through an art grant from Malmö City Cultural Scholarships.
My first novel, WE ARE TIME to be human (Vi Er Tiden at være menneske), came out in 2021 during the lockdown. While I haven’t yet had the chance to engage in live readings or conversations about the book, I’ve recorded readings and commentary on my podcast, available on Spotify. This project, like my visual workl, reflects my ongoing exploration of time, memory, and human experience—how we navigate the spaces between what is felt and what is seen.
Outro
In both my writing and visual art, the themes of projection, clusters, and knots reflect an ongoing curiosity about how we structure our inner worlds. Whether through the red threads of French Knots, the coded language of Love Letters, or the narrative flow of my novels, I continue to explore how concepts, both psychological and philosophical, shape our experiences. As I move forward with these projects, I find myself continuously drawn to the spaces between coherence and fragmentation, seeking to bring these complex, often contradictory, elements into dialogue.
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