Hated Animals, part 2: the Wolf
Mixed media, 2011

Hated Animals, Part 2: the Wolf consists of four works in which I examine conflicts and stories about the wolf in the area around Torsby in Värmland. We meet three families who tell us about wolf attacks in their back yards in the idyllic landscape of the countryside. I take measure of my fear by sleeping one night alone in the wolf territory of Gräsmark. I display a found a wolf faeces which not only a trace of a wolf but also of whom it ate. We also see a photographic series that challenges documentary methods within photography.


One night in the wolf territory of Gräsmark
Video, 1 minutes 43 seconds loop, 2011

One night in the wolf territory of Gräsmark is a stop-motion video composed of photographs taken by a trail camera with a motion detector while I was sleeping in the wolf territory of Gärsmark. I woke up six times during the night and the awakenings were photographed with three pictures each. Two stories about the wolf competed inside me: the scientific, in which wolfs are rationally shy of human, and the legendary, in which wolves are salivating killing machines showing off their teeth.



Stories from the countryside
C-Prints, digital prints, drawing paper, 2011

The work Stories from the countryside consists of three stories with texts and photographs about wolf attacks in the backyards of three different families. The texts are transcribed interviews with dialect words and sentences, affected and sometimes hard to follow. The attacks took place in the photographed sheep pens, and the idyllic landscape confronts drama and death.




Index #2: Faeces
Found object, 2011

Index #2: Faeces is a dried wolf faeces filled with hair and white of lime in chewed bones. The object is shown in a glass case. The faeces can be seen as a indexical trace of both the wolf and the one who got eaten.


Behind my back
14 digital prints, drawing paper, 2011

Behind my back is a ambiguous experiment in which I try documentary photography as carrier of myth, and in the same time try to find the truth about what is going on behind my back.

I walked through different wolf territories in Värmland with the hope of seeing a wolf. I had a trail camera with a motion sensor on my back. The nature consisted mostly of forest roads, tree plantations and clear-cut areas. The camera reacted to my movements while walking and made photographs with minimal subjective choice of how, where and when the photographs should be taken. The camera delivered over 300 photographs and just by the choice of 14 of them a story about a suggestive, dark and beautiful forest emerged. The photographs can also, in line with the documentary traditions and methods (e.g. in wildlife photography) be seen as trustworthy representations of the depicted forest. Problems arises when it is the methods, and not the story, that carries the documentary element in a documentary story.