Studio view, Stockholm winter 2025-2026
A Good Wish, 2025
Graphite and charcoal on hessian
In Search of Something to Hold Onto, 2025
Graphite and charcoal on hessian
Exit From Within, 2025
Graphite and charcoal on hessian
A Bad Dream, 2025
Graphite and charcoal on hessian
The Need for Roots, 2025
Graphite and charcoal on canvas
Wanna Explode, 2026
Graphite and charcoal on hessian
Pain Changes, 2022
Graphite and rust on canvas
190 x 80 cm
It Kinda Gets Inside You, the Silence I Mean, 2023
Graphite and crayon on cotton.
at Pradiauto, 2023, Madrid.
Out of Body, 2025
Graphite and pigment on hessian
Curated by Annika Örner and Joel Odenbrandt, Södertörn University, Stockholm, 2025
Everything, 2022
Duo exhibition at Cromwell Place, 2022, London
Birth, 2023
Reappropriated thrown away stainless steel, rebar, metal bar and wire.
at Pradiauto, 2023, Madrid.
Uprising, 2024
Metal bars and wire
Studio view, Stockholm, spring 2024
Rising, 2024
Metal bars, rescued rebars, metal wire.
Studio shot, Gustavsberg, Stockholm.
My Nature, 2024
Metal bars, rescued rebars, metal wire.
Studio shot, Gustavsberg, Stockholm.
Birth, 2023
Reappropriated thrown away stainless steel, rebar, metal bar and wire.
at Pradiauto, 2023, Madrid.
I Can’t Wait, 2023
Counterweight, rebar, metal bar and wire.
at Pradiauto, 2023, Madrid.
I (framed), I (unbound), 2021
Union Pacific. 2021, London. tr. Anderson Borba.
III (unbound), II (unbound), 2021
Union Pacific. 2021, London.
III (unbound), 2021
Union Pacific. 2021, London.
Other II, Other I, 2016-2017
Equrna Gallery, 2017, Ljubljana.
Other III, 2018
Pins through canvas
Other I, 2017
Pins through canvas
Other I, detail
I Silence, 2023
The piece is a cast of the inside of my mouth.
I want to capture this location of silence. The mouth, a place of meaning-making. The mouth, the place of articulation, speech, shouting. The mouth, now, the place of silence. The resulting sculpture. My silent position in the world, materialised.
Aluminium.
at Parafin, 2023, London.
I Lie, 2015/2021
Aluminium
The five objects are casts of the negative space of my mouth, when pronouncing the sounds of five letters. At the same time they are the positives of what would have become sounds of letters. The shapes of the muted letters together form what could have become a word.
Public commission for Plaza Protocol, 2021. Plaza Protocol inhabits an unfinished construction site of an underground shopping mall at the outskirts of Ljubljana.
I Lie, detail
I Lie, 2015
The five objects are casts of the negative space of my mouth, when pronouncing the sounds of five letters. At the same time they are the positives of what would have become sounds of letters. The shapes of the muted letters together form what could have become a word.
Inter Pblc, 2021, Copenhagen.
I Lie, 2015
I Lie, detail
Excavated Hole, 2021
Femi’s sculpture garden. Deptford, 2021, London.
Monument to a Hole, 2018
With this monument I want to inverse what a monument conventionally is. It is not raised, but rather is induced into the ground onto which we live our lives. It does not commemorate any real, nor fictional, historicized person, group of people or event. Instead, it memorialises absence. This monument acknowledges the darkened holes in our lives, the holes in our personal stories and collective histories. It provides space for what was left out when history was written.
Land 404, Gullholma, 2018, Sweden.
Monument to a Hole, 2018
Monument to a Hole, detail
Studio, Ljubljana, 2018