About Me
I was born and raised in Bodø, in Northern Norway. My background is in fashion design which I studied at Esmod in Oslo, followed by drawing studies at the Art Students League in New York. For more than 30 years, I’ve worked as a costume designer for film, television, and advertising, including on films like Buddy by Morten Tyldum and Next Door (Naboer) by Pål Sletaune.
Since 2008, alongside my work in film and my growing interest in dioramas, I’ve also worked as a model for art photography. It’s a role that has given me a deep appreciation for form, gesture, and the ways we express presence through the body.
Over the past decade, my main artistic focus has been on creating three-dimensional tableaux and dioramas. These works have been shown in exhibitions in Norway, Belgium, and the United States—including solo shows at Galleri Grette in Notodden, Kjøpmannsgata Ung Kunst in Trondheim, the Kittelsen Museum at Blaafarveværket, and currently at Villa Fridheim in Krødsherad.
In my dioramas, I build small interior scenes populated by anthropomorphic mice—often placed in everyday, slightly uncanny, or folkloric settings. Much of my inspiration comes from Victorian superstition, Northern Norwegian heritage, and personal or imagined histories.
Everything in the scenes is handmade: from sewn, embroidered, and crocheted textiles to hand-built furniture and sculpted mice. I also create the drawings and paintings that decorate the miniature rooms. I’m particularly drawn to detail and atmosphere, and I try to create a sense of stillness that invites the viewer into a world where stories can begin to unfold.
Traditionally, dioramas have been used for historical or military storytelling. While I draw on that tradition, I’m interested in using the format for more intimate narratives—stories shaped by mythology, family, memory, film, and popular culture.
My latest work is based on the history of Villa Fridheim, which was used as an internment home from September 1944 until the end of World War II. The piece is rooted in real events, and like much of my work, it’s an attempt to bring hidden or overlooked stories to light.
