15 August 2026
Photographic Poem #7 / 14
Yesterday’s torrential rain made for one of the most challenging scenes so far. After an early morning spent putting the final details in place, the heavens opened — again! But with a makeshift roof of scaffolding and plastic over the camera, I managed to pull it off, much to the constant amusement of passersby as I ran back and forth with the self-timer and camera.
Then the weather changed completely! Brilliant sunshine and, finally, time to start working on the façade. It feels so good to be working with dry timber and to see how quickly things are taking shape. I’m halfway there now!
Tomorrow, I’ll continue with the cladding, battens, and preparations for the roof.
13 August 2026
Photographic Poem #5-6 / 14
Less wind and an even layer of cloud finally allowed me to catch up with the project schedule. That meant I had time to build and photograph two completely different scenes for the poem. It’s a great relief, of course, to be back on track with the tight schedule, but above all, it was a pleasure to be able to work in much better conditions.
The white scene is a key component of the series, where the shifting shades of white against the surroundings play a crucial role. It takes that muted autumn light for the tones to truly come into their own.
Tomorrow brings a new weather forecast and one final scene before it’s time to tackle the house façade and extend the construction by 120 cm in height.
12 August 2026
Photographic Poem #4 / 14
After some early preparations, it was time for the largest window scene in the entire project. The weather delivered perfection: sunshine during the shoot, and a rain shower only after everything was finished!
It was a day filled with wonderful feedback. Hearing all the interesting thoughts and perspectives from passersby about the view through the window gives me so much energy. It’s especially fun to see familiar faces returning to follow the construction of the set up close!
Now there are three more scenes with the indoor interiors before I need to step things up even further and tackle the exterior cladding and gutters.
10 poems left until the finish line!
11 August 2026
Photographic Poem #3 / 14
After yesterday’s reworking of the framework in torrential rain, today it was time to prepare and photograph scene number 3 — The Blue Scene.
The wind put up quite a fight today, tearing at the set and the pelargoniums. For a while, it was genuinely nerve-racking to see whether the ground screws would hold, but the structure stood firm without any supports or an extra wall! A huge relief.
Tomorrow starts early, with painting, construction, and photography for scene number 4. Even though the road to the finish line is long and it can feel like a struggle at times, all the encouraging words from people passing by give me a tremendous boost of energy.
And being able to work right next to the river, with a view that is constantly changing, makes every hour of work a little easier.
9 August 2026
Photographic Poem #2 / 14
From early morning until after sunset. Today’s work is one of the most time-consuming tasks in the project: three windows, complete with all their mouldings, in a headwind that only grew stronger as the day went on.
I knew from the start that there would be days when everything feels like a struggle and takes its toll. But all you can do is work your way through every phase and every setback. Just as the final touches were made and the scaffolding was rolled back in, the wind died down and a light rain began to fall.
Tomorrow’s schedule calls for restructuring the framework — in the rain, according to the forecast.
8 August 2026
Photographic Poem 1#/14
Photographic Poem #1 / 14.
Early last winter, I planned the first staging and wished for a good start. The wind did its best to test my patience, but with mouldings, baseboards, and a box full of screws for company, I was joined by many curious onlookers. Now the first scene is done and dusted.
This is only the beginning. Tomorrow morning, the next one begins.
4 August 2026
Finally the start of construction!
Today was finally the start of construction for my major project at Öbacka in Umeå! Everything went smoothly, and the timber frame that will support the 14 different set designs for my photographic poem is now anchored and in place.
I was a bit worried beforehand about how difficult it would be to get the ground screws down to the right depth and whether the structure would be stable enough against the wind. So it feels like a huge relief to check off this step and move forward in the process. Now ahead lie several weeks of intensive work—likely in somewhat more challenging weather than today's!
2 August 2026
Final preparations before construction begins!
Now I'm back on home and can finally pick up the project where I left off a few weeks ago. Today I bought both the ground screws for the structure and other materials required to put together the timber frame on Tuesday next week. I’ve also spent time painting and working out a schedule for photographing the 14 different photographic poems.
I can see now that there is a lot of work ahead of me, and I hope the weather is on my side when it comes to installing the frame. It involves quite a few steps including earth drilling as well as on-site problem solving to get it properly in place. Still, it feels reasonably under control; I have the necessary skills and have set up the best possible conditions to reach this next milestone on Tuesday. To be continued with a mix of nervousness, but also deep joy in seeing these plans come to life!
29 July 2026
Soon home again!
Thank you to everyone who attended yesterday’s opening and artist talk. It was a real pleasure showing you the project and sharing my thoughts and ideas from the past few weeks. The conversation was recorded and led by journalist Malin Palmquist. Hopefully, this exciting and insightful talk will be posted sometime soon.
I have now said goodbye to Östersund and am on my way home after nearly a month on the road. It feels great to finally be heading back, as there’s a lot of work to be done on my project before construction begins on August 4th, along with several preparations and meetings that need to be arranged before then. It feels a bit like I’ll be back to square one, but I know I’ve also done a lot of groundwork on the side during the trip. Hopefully, all those hours spent planning on the road will pay off once I get home and keep moving the project forward!
25 July 2026
Processing Landscapes #2
Welcome to an exhibition, artist talk, and workshop at Östersund Old Church.
Processing Landscapes #2 presents artistic projects developed during a four-week residency at Surnadal Billag Kunstsenter, Norway. The exhibition brings together five artistic practices exploring landscape through photography, video, installation, and participatory processes.
Programme Exhibition 28–30 July,
11:00am–3:00pmOpening & Artist Talk 28 July, 1:00–2:00pm
Workshop 29–30 July, 1:00–3:00pm
Artists
Gustav Hellberg (Goheung, South Korea) Borahm Kim (Seoul, South Korea) Yujin Kim (Seoul, South Korea) Peter Stridsberg (Umeå, Sweden) Linda Petersson Ödbring (Östersund, Sweden)Workshop
Together with Institutet and Raketa, we invite visitors to participate in an open workshop where collected plant materials will be woven together. The workshop is free of charge and open to all ages.
25 July 2026
Östersund next stop!
The other day we returned to Sweden, Östersund this time. It feels a bit strange to be here as it’s a place I’ve never visited before, yet several of my photographic works from recent years are hanging in various public spaces here.
We are holding an exhibition here featuring our work from Norway, and I will be showing the same work, but this time in a different space—we’re actually exhibiting in Östersund's Old Church (Östersunds gamla kyrka). While the venue presents a lot of limitations, it also feels special to exhibit in a room so open to reflection and connection in different ways. It’s wonderful that our project and processes get to be part of this context.
20 July 2026
More info soon..
Here is a quick photo from the opening of my installation "Memory Horizons" (Minneshorisonter), with more photos and descriptive text coming soon. It was wonderful to see people interact with my work, and I am very pleased with how the presentation turned out. Working with painting in this way and on this scale was such a fun experience.
20 July 2026
Thank You Norway!
After a few intense and absolutely fantastic weeks in Surnadalsøra, I am leaving Norway filled with new inspiration, memories, and wonderful encounters. Having the opportunity to explore and create in a new place alongside the international group of artists In Process of the Landscape has been a true privilege.
A huge thank you to my fellow artists Linda Petersson Ödbring, Borahm Kim, Yujin Kim and Gustav hellberg. And a warm thank you to Jon Arne Mogstad and Cecilie Nissen at Surnadal Billag for your fantastic hospitality. You truly welcomed us with open arms. Thank you also to everyone who came to our exhibition!
Plenty of materials, a few artworks, and photos from the residency will be uploaded to the website soon, once I’ve recovered from this memorable trip.
Now it’s off to the Swedish mountains for a few days of field studies before the next joint exhibition, Processing of Landscape #2, opens in Östersund next week!
More images from the aventure in Norge here
18 July 2026
Opening of Processing Landscapes #1
Welcome to the opening of Processing Landscapes, an ongoing international artistic collaboration exploring the landscape as a collectively coexisting, ecological, and philosophical platform. The project stems from a shared desire to explore place through individual artistic processes shaped and developed through dialogue, geographical movement, and collective work.
The collaboration began during the exhibition Mediated Process at Cullity Gallery in Perth, where three of the artists met for the first time for a deeper artistic exchange. Shortly after, the group expanded, and today Processing Landscapesconsists of five artists:
Throughout July, four of the five artists have lived and worked together on a residency with us at Surnadal Billag Art Center. The exhibition shows the result of this process, featuring works in painting, photography, installation, text, and video that reflect the artists' different approaches to landscape as memory, belonging, and experience.
Processing Landscapes is part of the three-year project Site Stories from Surnadal (Stedsfortellinger fra Surnadal), belonging to the track focusing on the region's waterways the rivers and streams that have historically shaped agriculture, industry, and energy in Surnadal.
The project is part of Surnadal Billag's Site Stories project and is supported by Arts Council Norway, SpareBank 1 Nordmøre, Region Jämtland Härjedalen, Nordic Culture Point, the Helge Ax:son Johnson Foundation, the Längmanska Culture Foundation, JLK Jämtland County Art Association, Storsjöyran, and the Church of Sweden.
Join us, bring someone along, and experience the landscape through five distinct artistic perspectives!
17 July 2026
On my legs again
The deadline is fast approaching, and our exhibition opens this Saturday, which means I have to finish my painting. It’s a race against the clock due to some unforeseen circumstances, but I am back on my feet today and slowly recovering from a muscle inflammation I developed a couple of days ago. It forced me to pay a visit to the Norwegian healthcare system to get painkillers for the severe pain, leaving me stuck spending the day resting on the bed and couch in the guest apartment, trying to get around on crutches.
15 July 2026
The wihte cube
I decided very early on that I wanted to set up my installation in the white cube at the art center. This was partly to use good lighting to create an immersive effect where you feel enclosed by the installation, but also because it allows the brushstrokes and the painting itself to be highlighted in a subtle way without the surrounding environment taking over.
A fair amount of prep work is required to prepare the room so that it can accommodate both my piece and Gustav's video work.
13 July 2026
Exhibtion plans
Work is in full swing for all of us artists on site, as well as for Gustav, who is currently in South Korea. Today, we began planning the exhibition by discussing and sharing our thoughts and ideas regarding our different works. It feels like it is going to be a wonderful exhibition, and it's exciting that we all have space to spread out. This allows us to create a slightly different kind of show one where visitors can wander through the building and encounter our various works and processes in different spaces.
I personally find it quite engaging to see exhibitions that leave a bit of breathing room between the pieces. It creates opportunities to step into distinct zones and environments where the artwork and physical space interact, contributing to a more intimate and open experience without feeling too overwhelming.
11 July 2026
Painting in langre scale
I have now begun working on my installation, which will consist of a painterly installation on cotton fabric measuring approximately 9.5 x 1.6 meters. The color palette I have chosen to work with consists of colors that are abundant in the surrounding landscape: Cobalt Blue, Ultramarine Blue, and two different shades of green that create a nice balance against the intensity of the blue colors.
It feels a bit unfamiliar both to paint on such a scale and to work on the floor, which gives a different overview than what I am used to. However, there is plenty of time to finish the installation, which will be exhibited in a little over a week.
8 July 2026
24 hours in Trondheim
After a bit of rain, we decided to head to Trondheim, only to encounter even more rain. Still, it was very fun and exciting to visit current exhibitions in a city I was visiting for the first time. It was fun, if a bit unfamiliar, to suddenly see so many people, as everyday life in Surnadal usually means running into quite few people at the grocery store.
I managed to buy some materials for my project, which I will start working on once I get back to the studio. It feels inspiring to dive deeper and realize the sketches that have been on my mind since I arrived here a few days ago. I also feel this is a great opportunity to try making an installation inspired by the surroundings—one that can be showcased on a monumental scale in the art center's large spaces. It truly is a luxury to have the chance to scale up and not let the space be limiting, but rather set the boundaries myself.
4 July 2026
Field studies Innerdalen
Today, the field studies began with a trip to the fantastic Innerdalen. We walked into this amazing nature reserve. It was perfect hiking weather with just a light drizzle, making for a pleasant walk with plenty of opportunities to pause and take a closer look at nature. Immersing oneself in a landscape like this dotted with charming small cottages and huts with grass-covered roofs along the valley truly highlights how deeply nature and culture are interconnected, offering rich inspiration for how environment and heritage shape artistic expression.
3 July 2026
Exploration of the area
After our initial exploration of the area, we got to meet Jon Arne Mogstad, the artistic director of Surnadal Billag, we began exploring the surroundings by visiting various mountains and the local landscape. There is a lot to take in and process. It’s easy to be captivated by the landscape, which reminds me of places I saw in Iceland a few years ago. The proximity to fjords, steep cliffs, and mountain formations stretches along the various roads we travel.
This picture was taken in the area about 20 minutes from our apartment and the art center. What a luxury to have these surroundings for the coming weeks, and how fun to finally be out seeing and discovering the area together with the other artists.
2 July 2026
Arrival at Surnadal Billag
We have now arrived at our residency at Surnadal Billag, which will be our base for the next few weeks. Here, we will have the opportunity to work on a large and monumental scale, and later, towards the end of our stay, put together an exhibition.
It is always a bit nerve-wracking to go to a residency and create work based on the conditions of the location, but that is also what makes it so inspiring getting new angles and perspectives that can spark new ideas and thoughts about one's work. It is also a wonderful luxury to take a bit of a break from my other jobs and fully immerse myself in a place like this, alongside others who are also visiting for the first time.
1 July 2026
Artsit in residence in Norway
After a few weeks working on my ongoing construction project, I’m now swapping Sweden for Norway and heading off to an artist residency at Surnadalsøra in Norway. I’ve just made a layover in Åre, about 7 hours from home, before continuing the journey onwards to Norway. It’s going to be exciting to change environments and do an international exchange together with Swedish and South Korean artists. We're part of an artist group that is "In process of..." founded by Swedish artist Gustav Hellberg that now lives in South Korea.
Very happy to be invited to be part of this project and artist collective. We’ll be exploring and conducting various field studies in the landscape in both Norway and later Sweden.
26 June 2026
The space is now packed with heaps of timber of all kinds
The delivery I’ve been waiting for has finally arrived, the building materials are here! The space is now packed with heaps of timber of all kinds, alongside various boards and sheets that will soon transform into doors, window sills, and everything in between. It feels absolutely fantastic to finally reach this fun milestone. Construction is officially on the schedule. Let's do this!
Now, I can finally start measuring, sawing, and truly bringing this project into physical reality. This is the moment where the theoretical planning ends and the practical steps begin—the kind of hands-on work where you can’t pre-program every detail, but instead have to make concrete, real-time decisions on-site. Honestly, it makes me even more fired up to face these new challenges head-on and make this happen. It is going to demand a lot from me, but all the meticulous groundwork and planning have prepared me for this. From securing the right tools to sorting out the logistics, every single effort now is laying the foundation for a truly successful and striking final staging.
Time to start building!
24 June 2026
The waiting is finally over!
Tonight, the building permit officially came through! It is an incredible relief after months of waiting, planning, and navigating the process to finally have the green light for what I want to create this summer. I feel a massive weight lifted off my shoulders, but also a thrilling surge of excitement now that the project can begin in earnest.
While the meticulous preparation, blueprints, and paintings feel like I've already done five percent of the heavy lifting, the practical construction and sourcing of materials is where the project truly comes to life. Now, I can finally order the materials and get my hands dirty. Because of the long delay, the timeline leading up to the final deadline is much tighter, and I will be working right up to the last minute to make all the puzzle pieces fit. Yet, I just feel incredibly grateful for the opportunity to bring this vision and project to life. Now, the real and fun work begins!
21 June 2026
Small step forward
While waiting on the permit, focusing on preparation and the paintings has been a great way to keep the project moving forward. In fact, this waiting period has given the artwork time to evolve, and the paintings are honestly getting better and better. Working with this specific pigment and technique is both thrilling and educational, and it is incredibly rewarding to weave them into my process where every small step forward truly makes a difference. The scale of the paintings is directly based on the window sizes of the upcoming scenographs, creating a direct dialogue between the two mediums.
They vary in size to bring depth and rhythm to the final exhibition space, ranging from the largest piece at 140 x 130 cm to the smallest at 50 x 60 cm. This variation across the cotton canvases will create a beautiful dynamic in the room, and I am learning so much from mixing these scales and formats together as the pieces fall into place.
20 June 2026
Keeping the Momentum:
Blueprints, Scale, and Precision While waiting for the permit approval for the new site, I’m making sure to keep the project moving forward every single day. Staying proactive now is essential, not only to ease the workload later, but to ensure everything is executed flawlessly.
Calculating Materials and Framing Right now, I am deep into the technical drawings and construction specs for the different parts of the structure. I’m calculating exact material quantities and mapping out architectural details, like the placement of window sills and frames, and how they will align with the surrounding trees and branches on-site. Scale vs. Reality This phase is all about precision. I’m looking closely at the scale and proportions to make sure my initial ideas translate perfectly into reality.
There will always be minor adjustments along the way, but these meticulous blueprints form the foundation of a smooth workflow ahead. It requires a lot of focused time to weigh decisions that might only become visible in the final photographic staging. When you're in the thick of building, the bigger picture isn't always obvious. That’s why working rigorously with scale and proportion is so vital it’s what makes the tension between fiction and reality feel completely believable.
8 June 2026
A New Site and New Heights!
Great news I’ve finally found a new location that feels right! The surroundings are beautiful, with lush greenery in the foreground, and the spot is perfectly nestled between the trees. Best of all, it safely navigates around those underground utility lines. The new site map has officially been submitted, and I’m crossing my fingers for the permit to come through soon.
Facing the Elements In the photo, you can see me holding up a measuring tape to mark the highest point of the planned structure—which will reach an impressive height (I'm anticipating around several meters!). While exciting, a structure of this scale comes with its own technical challenges, especially since this particular spot is highly exposed to the weather and strong winds. Preparing for Construction To tackle these elements safely, I'm already figuring out the best way to secure the structure. I’m currently looking into booking scaffolding and heavy-duty anchoring to make sure the build is both secure and manageable when the time comes. Step by step, the pieces are falling into place!
7 June 2026
Finding the Perfect Location ?
Working with site-specific art and set design always involves a bit of detective work. Right now, I’ve hit a few technical snags with my original location. It turns out there are water and power lines running through the ground, making it very difficult to get the necessary permits. Activating Plan B Instead of dwelling on it, I’ve started scouting nearby locations. This means a lot of planning right now mapping things out and physically exploring the area to find a spot that works both artistically and logistically.
A Frustrating but Necessary Delay Unfortunately, this will delay the permit process a bit compared to my original timeline. While it's frustrating, it’s just part of the game when building in a public space. I’m taking it in stride. By doing the groundwork now and making these necessary compromises, I'm ensuring everything is fully prepared when it’s finally time to build. In the end, it will all come together!
5 June 2026
Light, Tempera and Ideology
The new project is officially underway! Right now, I’m diving into tempera. It’s incredibly exciting to explore how the unique character of this medium can reinforce the ideological themes I’m currently focusing on.
These new monochrome paintings will serve a dual purpose. They will form the visual foundation for my upcoming stage designs, but the plan is also to showcase them as standalone pieces in the exhibition space side by side with my photographic stagings.
Lately, I’ve been fascinated by the lighting. Tempera has a distinct, matte quality, and experimenting with how light hits the surfaces and transforms the space adds a thrilling new dimension to the entire project.
24 May 2026
Egg tempera paint
Today, I ordered canvas and egg tempera paint that I will use for ten paintings that will become part of the project with the 14 photographic poems. These paintings, made in egg tempera and in various sizes, will form part of the photographic scenes and the scenography itself. At the same time, the intention is that these works will also be included in the future exhibition, which requires a careful balancing act when it comes to finding the right shades and colors — tones that can function both within the physical setting of the scenes and in relation to my overall concept and idea for the project.
It feels exciting to be able to incorporate this technique and material into my process, but also to bring together elements within the image that will later reappear in the exhibition space itself. For me, this is an important part of my artistic development: continuously finding new strategies and approaches for how I can develop and use staging as a method in different ways. At the same time, I want to use painting as a foundation and as a tool for discussing concepts that I find important within the work.
The colors consist of seven different colours of egg tempera that will soon arrive, after which I will paint on to primed cutton canvas. This is work that I will carry out in parallel with the preparations for the scenography, which I hope to begin within the next two weeks.
It feels very exciting.
23 May 2026
Wating for permit..
As I write this, I am still waiting for approval of my building permit for my summer project. It is very frustrating to be waiting for permission to carry out the project this summer. At the same time, however, it gives me the time and opportunity to immerse myself in the details, which I may have mentioned previously.
Right now, I am spending a great deal of time planning how to structure a timeline, while also calculating how much material I will need to purchase. There are many details that will need to be decided and incorporated into the scenes — partly to ensure that the result is successful, but also to make it possible to build in a sustainable, ecological, and efficient way.
I will spend most of the summer building, which means that it is important to work strategically with a plan and to have something concrete to rely on. The 14 scenes are all different, but there are also similarities between them that make it advantageous not to have to buy entirely separate materials for everything. Still, there is a significant amount of material that needs to be ordered. This includes more than hundreds of meters of timber, all of which requires careful planning, as well as finding efficient and practical ways of transporting and organizing everything. As much as this project is about creating a successful build on site, it is also something that I need to be able to manage and carry out myself. That is where the difficult balance lies — understanding what should be delegated, what I am capable of doing on my own, and what I actually want to focus my energy on.
These considerations are among the most challenging aspects at this stage, where I am simply waiting to begin. In the meantime, I am trying to make the process manageable through sketches and other preparatory material, because I feel that this allows me to remain in an active process and continue moving the project forward, even if it sometimes feels distant while the formal approvals are still not in place. But as soon as the permits are approved, I hope to begin the work immediately, something I have been looking forward to for a very long time.
8 May 2026
Set design process
Over the past few weeks, I have continued working on my set pieces alongside my two positions, as director at ÖKKV and photography technician at the Umea Academy of Arts. At the moment, I am in the process of working on the front door that will be part of one of the scenes. It involves a great deal of fitting and adapting in trying to create a door from the door itself. I am currently working on the different parts involved in assembling both the handle and the lock so that they match the appearance of the intended door.
This is something that takes a great deal of time, but is also, in some way, very important when it comes to establishing the atmosphere of the image. Since this will be shown in the hallway, a straight-on image that perhaps does not reveal much in terms of detail, these details become all the more important in making the scene come together.
I have now gathered various secondary elements, including escutcheons, handles, and different turn knobs, in order to experiment and find the aesthetic I am looking for, but above all to ensure that they match the colors of the rest of the scene.
To be continued.
29 April 2026
Postcard Project
During the spring at Umeå Academy of Fine Arts, I have also been working extra on developing a postcard project together with the bachelor’s and master’s students at the academy. The project involved 25 students from both programs creating their own postcards to illustrate their work and artistic practice.
This is a project that I have managed from beginning to end, and as I write this, I am sitting here sorting the postcards, which will then be placed in a bag with an ISBN code, making it more of an artist’s book. It has been a very new and exciting project for both myself and everyone involved, and extremely educational as well. A great deal of thought and many ideas have gone into determining the format and size, as well as finding a layout, design, and graphic profile that matches the content.
It has been very rewarding to work together with the students and to be part of driving a project like this, something that in many ways extends beyond my regular position. At the same time, it has also been very time-consuming, as it has required extensive collection of material and project management in order to document and photograph the works. We have also gathered relevant information about the different works presented on the cards.
The postcards will be available for sale both at the bachelor’s exhibition, while the master’s students’ cards will be sold in the shop at the Bildmuseet in Umeå throughout the summer.
6 April 2026
Tile-inspired decor, bathroom
One of the scenographs in the upcoming projects will include tile-inspired decor meant to resemble ceramic tiles. This is the first time I'm daring to work with a detail like this, which will involve quite a few creative and challenging decisions along the way. The surface area is approximately 11 square meters, and I'm currently in the process of deciding what shade my fictional tiles should have.
To avoid the construction becoming too heavy, I'll be working with thin MDF and cutting out square "tile plates" that will be installed individually across the large wall sections.
28 March 2026
Color is on the agenda
Right now in the summer project, color is on the agenda. Both to find and explore the project's color scheme, I am examining and trying to find a color palette that aligns with the vision and plan I have. The important thing, in my opinion, is to find a color balance that suits all 14 scenes, but also to identify a common denominator that makes it easier to enhance the content of the images. I will be testing different color samples and experimenting with various materials to know which board material I will use to build the entire structure, while also finding different colors that can symbolize different parts of the poem.
As for the photographs of the poem, I am increasingly getting a clearer picture not only of my vision regarding what the images are about but also of the strategy I should have when working with the subject. Additionally, the colors provide me with the palette and the opportunity to tailor each scene more and more, scene by scene. This allows me to achieve both visual depth and find different types of starting points, making the overall project clearer. Therefore, the decision-making process regarding color is very important to me, as it influences what is ultimately visible.
This is also where I find inspiration in discovering colors that reference the content or concept of the images. It is crucial for me to experiment with them in different ways to ensure they provide what I want them to add. Of course, changes will occur over time, as different weather conditions affect colors in various ways. But it is at this stage, when the colors come to the forefront and I can test them more extensively, that I feel I have the tools to create and enable something that was previously just a sketch or an illusion.
19 March 2026
Building permits and police permits
Building permits and police permits to enable the opportunity to reshoot the scenography outdoors this summer. There are still many pieces left to fit into this puzzle, but I'm very glad to have reached this point where I at least have a foundation with sketches and dimensions, allowing me to more easily visualize and plan forward. Personally, this is sometimes a prerequisite when a project has this level of complexity, but also when it comes to making sound and sustainable decisions at each stage of the process.
This is something I value quite highly in my workflow, as I also want at this stage to be able to steer the project's angles toward a perspective that makes it easier to work with and manage the project—both when it comes to solving upcoming problems and also to find pathways that ensure the result becomes as I envision it.
11 March 2026
Window sills
An important part of the project, for example, are the windows and window sills that I've been working on and thinking about a lot lately. The boundary between indoors and outdoors. Partly how they will look in terms of shape or how they should look aesthetically. This has led me to reason a lot about how much space they should take up and how they should be visible, and whether they should differ from each other or not. The idea is also that parts of the material I'm showing, or parts of these sets I'm making, I should later be able to recycle in various ways for the upcoming exhibition. Which means I might have to think one step ahead, but still reason and figure out what I want and how I'll find ways to explore. Here, for example, is a draft when I looked at different types of stains and textures in the way I imagine the window sill should take. And if you calculate it, it might not seem like such a huge amount of work, but after all, there are over 20 window sills that need to be made for the different scenes in various sizes and be carefully planned in advance to get a sense of where you want to go and how it should look.
Another phase that I'm currently planning a lot is the colors, which colors I want to use in the images, meaning on the sets. I know that the same color will be used on half of the scenes, but for the other scenes I'm exploring daily, partly which colors I'm drawn to in reality, but also to find a color scale that balances with the image and the content of the scene setting. There's a lot to take into consideration, but also a lot to calculate and reason through to find ways that can also highlight the environment, the light, and the scenography together in a good way with the various planned and designed images.
1 March 2026
Sunday morning at the hardware store.
Early morning, Sunday morning at the hardware store. I'm starting to familiarize myself with the materials I'll be using. The thing is, when I sketch out my projects and sets, I look around quite a bit to figure out what kind of timber or materials I'll be working with. But it's also when I'm physically on site and can scout around for what I'm looking for—what dimensions and sizes I'll be using that I also clarify the visual plans. These images might be aesthetic choices, really, but they also affect the entire structure's load-bearing capacity.
After all, this project I've been formulating over the past few weeks is somehow something new for me. New in the sense that it's on a monumental scale. It's a project that will take time, yet has many components, and that's what I'm reasoning through right now. It will consist of a total of 14 scenographs. Sets that need to be constructed in different ways from the same starting point. Which requires very good structural strength, but it also requires a structure of getting to know the material I'll be using. But also finding ways for how it should stand stably on site while simultaneously withstanding any wind that might be present there.
1 March 2026
Fun news!
I received this lovely picture in my inbox the other day from Östersund, where my photographic work Ställas inför årsringar (2022) is now hanging in Östersund Municipality's newly renovated City Hall. Thanks to Kristina Strömgren for the photo! It's always fun to see one's work in beautiful environments and places in people's everyday lives.
20 February 2026
Contemplating and resoning
Lately, I have spent a lot of time contemplating and reasoning, as well as sketching and finding solutions to upcoming problems. In the major project I am currently tackling, there are many components that need to come together. I try to layer things step by step, making different decisions at the right moments while also seeking to stay at the forefront of opportunities to build and realize the project. It is very time-consuming, but it can also be quite rewarding to take the time to reflect on how things should look in advance. For me, this part of the process is somewhat monotonous, but sometimes one can allow oneself to dive deep into important details. Right now, I have been sketching the finalized colors I envision for the various components, and this is one of the sketches I currently have in front of me.
1 February 2026
A site visit
Today, I conducted a site visit to the location where I plan to work this summer. I realize already that there will be a lot of work ahead. However, there is also something valuable in being able to visit a site in advance, to reason about it, and to understand the conditions of the place. It's essential to consider the directions and functions of the site in this project. This involves thinking practically about how I can realize this project for myself, as well as finding ways to understand how I can create the best possible conditions for it to turn out as I envision.
It may seem abstract, but I find it quite obvious when it comes to working at full scale. Understanding the site's conditions and taking care of its characteristics are crucial. After all, it's in these components that I can create opportunities for my implementations to take place. While it may not have a massive impact on the site, it still requires logistical effort to execute and realize the project.
Moreover, by visiting the site, I can more easily come to terms with finding a work strategy that can also serve as a forward plan for what I should do next and what is important to include in the project. This is something I always experience when I visit the site. Even if I may have a location in mind when I start sketching out a project, it's during the site visit that the project truly begins to take shape. It’s there that I see what the site looks like, how it resonates with me, and what I want to highlight and bring to attention.
30 January 2026
Working in process
Right now, I’m doing a lot of sketching for my upcoming project, which I hope to realize during the summer. There are many practical aspects, as I’ve chosen to focus on breaking the project into smaller parts so that I can more easily structure all the elements that require significant work and project management. But it’s during the sketching phase that I can determine the scale and make decisions that will make it easier in the next step to decide on the amount of materials to purchase, as well as, of course, how everything should look aesthetically. There is a lot to consider, which is naturally a bit stressful, but it can also be quite rewarding at times, as it makes you pause and think through fundamental, well-considered decisions that also make things easier when it comes to aspects of realization that are beyond my control, such as obtaining permits from various authorities, since the construction is planned to take place outdoors.
11 January 2026
Art Duo Exhibition by
Peter & Rebecca
It has been intense days of exhibition work and snowstorms, but we are very happy about all of you who braved minus 25°C to attend yesterday’s opening at Apotekshuset, Sollefteå. There were many wonderful conversations, and it was a joy to present our artistic practices together for the first time. My and Rebecca’s duo exhibition The Evanescent Landscape runs until mid-March and follows Apotekshuset’s regular opening hours, which can be found on their website. You are warmly welcome!
3 January 2026
Explore The Evanescent Landscape – Opening soon
We are pleased to present the upcoming exhibition The Evanescent Landscape, opening in January at Apotekshuset in Sollefteå.The Evanescent Landscape is a collaborative exhibition by Peter Stridsberg and Rebecca Sharp, where two artistic practices come together to explore the landscape as both a physical place and an inner experience. Through photography, drawing, and sculpture, the artists depict the ever-changing states of nature a living archive of memory, time, vulnerability, and responsibility.
The exhibition features works that, through their thematic engagement with contemporary issues of ecology, place, and shared responsibility, as well as their visual and spatial clarity, invite slow reflection and can serve as lasting elements in environments where many people move and meet in everyday life. In a time marked by transition, political unrest, and ecological uncertainty, the exhibition offers a quiet yet hopeful vision, allowing questions of recovery, relationships, and faith in the future to take center stage.
The exhibition runs until March 14. You are warmly welcome!
1 January 2026
New year, new plans and a new upcoming exhibition
It’s been a while since I last updated the website about everything that has been happening in my artistic practice, mainly due to a lack of time. But here is a small personal update.
Since early December, I have been working as Acting Director at ÖKKV in Örnsköldsvik, where I am involved in leading and developing the organisation. It feels both meaningful and exciting to step into this role at a time when the association is moving towards new visions and changes.
Shortly before Christmas, I also received some very positive news: during the spring I will be part of a working group focused on artists’ entrepreneurship and professional practice in Umeå Municipality. It feels great to take on additional assignments alongside my own artistic work. At the same time, I continue my teaching in photography at Umeå Academy of Fine Arts.
Over the Christmas holidays, I took the first steps in a new project that I will be working on intensively going forward. It is a project that will require a great deal of construction and physical labour, which makes it especially nice to be able to balance it with other kinds of work.
Soon I will also be sharing news about an upcoming exhibition that I am doing together with Rebecca Sharp at Apotekshuset in Sollefteå. More information coming soon.