Photography has become increasingly fast, invisible, and frictionless. My work moves in the opposite direction.<\/p>\n\n\n\n
I work with old cameras, expired film and handmade developers, embracing uncertainty as an essential part of the creative process. Each photograph is the result of physical interaction between light, chemistry, time and material rather than digital precision. I deliberately seek methods that resist efficiency, allowing accidents, imperfections and unpredictability to shape the final image.<\/p>\n\n\n\n
The landscape is where this process begins. Carrying simple, often primitive cameras into nature creates a space removed from the constant noise of contemporary technology. The slow act of making photographs becomes both observation and meditation, where time stretches and small details gain significance. Sometimes this exploration of time extends into solarigraphy, where a single image is created through exposures lasting many months. These works make time itself visible, allowing the photograph not only to record a moment but to embody duration.<\/p>\n\n\n\n
In recent years my work has expanded beyond photography itself. My old silver gelatin prints become surfaces for new images; old portraits are transformed through self-portraits; photographs merge with painting, laser engraving and other materials. Rather than documenting reality, I seek to loosen photography’s traditional bond with it, exploring memory, time and the fragile boundary between what is seen and what is imagined.<\/p>\n\n\n\n
Alongside photography I create oil paintings that often respond to contemporary events while drawing on imagery and texts from Old Norse poetry written more than a thousand years ago. By allowing the present and the distant past to coexist within the same work, I explore time not as a linear sequence but as something fluid and relative. Across both photography and painting, I am interested in how images can collapse centuries into a single moment and reveal unexpected connections between ancient memory and contemporary experience.<\/p>\n\n\n\n
For me, the photograph is not an endpoint but a living object – one that continues to change, accumulate meaning and invite new ways of seeing.<\/p>\n","protected":false},"excerpt":{"rendered":"
Photography has become increasingly fast, invisible, and frictionless. My work moves in the opposite direction. I work with old cameras, expired film and handmade developers, embracing uncertainty as an essential part of the creative process. Each photograph is the result of physical interaction between light, chemistry, time and material rather than digital precision. I deliberately […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_coblocks_attr":"","_coblocks_dimensions":"","_coblocks_responsive_height":"","_coblocks_accordion_ie_support":"","footnotes":""},"class_list":["post-857","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/marason.is\/index.php?rest_route=\/wp\/v2\/pages\/857","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/marason.is\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/marason.is\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/marason.is\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/marason.is\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=857"}],"version-history":[{"count":1,"href":"https:\/\/marason.is\/index.php?rest_route=\/wp\/v2\/pages\/857\/revisions"}],"predecessor-version":[{"id":859,"href":"https:\/\/marason.is\/index.php?rest_route=\/wp\/v2\/pages\/857\/revisions\/859"}],"wp:attachment":[{"href":"https:\/\/marason.is\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=857"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}