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.