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Jörgen Thornberg
Direkt från regnskogen, 2024
Digital
50 x 70 cm
3 200 kr
Direkt från regnskogen
‘‘Frida’s Canvas: A Poetic Ode’’
‘The Two Fridas’ sit, hearts laid bare,
A duality of love and despair.
One hand holds life, the other bleeds,
It’s a tale of self and broken needs.
‘The Broken Column’, her spine of stone,
Stands as proof she’s never alone.
Pain like arrows pierce her skin,
Yet strength is carved deep within.
‘Self-Portrait with Thorn Necklace and Hummingbird’,
A vibrant scene where emotions stir.
The thorns draw blood, the bird takes flight,
A symbol of freedom in an endless night.
‘Henry Ford Hospital’, where hope was lost,
Dreams of motherhood paid the cost.
Floating objects, her anguish laid,
On that stark white bed, her soul displayed.
‘What the Water Gave Me’ whispers loud,
Her memories swirl, her spirit unbowed.
A bathtub becomes a portal deep,
To visions of joy and pain, she keeps.
Each brushstroke sings, each hue commands,
A vibrant cry from trembling hands.
Through every canvas, bold and true,
Frida’s heart beats, and her spirit renews.
Now she soars, a bird set free,
Her message spans eternity.
Through ‘Viva Frida’, her spirit flies,
Across the world, where her truth lies.
Her art, her pain, her fierce acclaim,
A timeless echo of her name.
Malmö, October 2024
The Conversation about Marilyn, Malmö, and the Mischievous Stars
Pierre and I had been sitting in his kitchen, drinking coffee and chatting, when I dropped the bombshell. He froze, staring at me with his cup halfway to his lips.
Me: "You’re not going to believe this, Pierre. I met Marilyn Monroe yesterday."
Pierre paused, his cup halfway to his lips, his expression akin to someone who had just been told life was discovered on Mars.
Pierre: "Wait… WHAT? Marilyn Monroe? She’s… you know… been dead since 1962! Are you sure you didn't just see a Marilyn Monroe lookalike contest?"
Me: "Yeah, yeah, I know. But get this, Pierre. She’s a Time-traveller now. She can go wherever she wants from her star. And, for the first time, she chose Malmö. I mean, who would've thought, right?"
Pierre shook his head and laughed sceptically.
Pierre: "Malmö? Why Malmö of all places? It’s hardly Hollywood."
Me: "It was Anita Ekberg who convinced her. You know, Anita was born here. And if that wasn’t enough, they brought Frida Kahlo along! The three of them truly owned the city last night."
Pierre leaned back in his chair, trying to process what I had just told him.
Pierre: "Okay, I don’t know what you’ve been drinking, but go on. How was Marilyn? Was she as mischievous and charming as in the movies?"
Me: "Exactly! But it was more than just her mischief, Pierre. She had this spark, you know, the kind that makes the whole room stop and stare. She could laugh at herself in a way few can. And she was smarter than most people gave her credit for. I asked her about her roles, and she laughed and said she knew the world saw her as a ‘dumb blonde,’ but that it was a part she played better than anyone else."
Pierre smiled broadly and leaned forward.
Pierre: "But surely, that must’ve been frustrating for her, being trapped in that role. I mean, she was so much more than that. Isn’t that why she broke so many norms?"
Me: "Exactly! She told me she loved turning expectations upside down. Like in *Some Like It Hot*—her role as Sugar Kane wasn’t just flirty and playful but genius in its own right. She used humour and mischief as a weapon to pave the way for women in the film industry."
Pierre nodded thoughtfully as he stirred his coffee.
Pierre: "So, she was naughty in a strategic, almost political way. She used her charm to take control of her life and image. But… wasn’t it also a form of escape sometimes? I’ve heard she struggled a lot with insecurities."
I put my cup down and sighed lightly.
Me: "Yeah, that’s true. She was human, Pierre. Behind all that glamour was a woman wrestling with trauma and a deep need to be loved for who she was. But that’s what made her so fascinating. She could be both vulnerable and firm."
Pierre leaned back again and let out a laugh.
Pierre: "And now she’s wandering around Malmö with Anita Ekberg and Frida Kahlo. Sounds like the start of a wild adventure."
Pierre had heard my stories before and eventually accepted that they were true, no matter how strange they sounded. He knew about my connections with Time-travellers, which began on Hydra, where one of the space-time wormholes opens. It all started with a certain Babis Mores and his huge reunion party for his old friends from the Lagoudera nightclub and the carefree 1960s. I had been recommended as someone who could keep secrets and was positively inclined toward Time-travellers. That party had led to many encounters since, often with Leonard Cohen and his now-eternal partner, Marianne.
"You should’ve seen them, Pierre! Marilyn, in her iconic white dress, charming the bus driver at Gustav Adolfs Square. Anita, with a bottle of champagne, toasting, ‘Skål för Malmö!’ And Frida... well, she was deep in a discussion with some art students at Lilla Torg, probably about why their Instagram filters don’t do her work justice."
Pierre laughed so hard he nearly spilt his coffee, and I couldn't help but join in. The image of Marilyn, Anita, and Frida causing a stir in Malmö was just too amusing.
Pierre: "You’re insane, you know that? But you know what? If anyone could make Malmö glamorous, it’s those three."
We laughed together, and I felt that, somehow, we had managed to capture the mischief and depth of Marilyn Monroe—a woman who never ceases to fascinate no matter what time she’s in.
---
Pierre leaned forward and jabbed a finger at me, his face comically serious.
Pierre: "You’d better not tell Kristen about this conversation. She’d say I’ve turned into a dirty old man. She already thinks your Time-traveller tales are ridiculous, even though she secretly enjoys them."
I chuckled and raised an eyebrow.
Me: "And is she wrong?"
Pierre: "Not entirely, but not in the way she means! These women are way older than an old codger like me. What are the—120 for Frida? Nearly 100 for Marilyn? This is historical admiration, not some cheap fantasy."
I laughed louder, which wasn’t kind, and Pierre snorted at me.
Me: "So what you’re saying is that you prefer younger women, huh?"
Pierre: "Are you joking? I gave up on younger women ages ago. To them, I’m about as exciting as a concrete pillar. Grey, stable, and utterly uninteresting."
I tried to hold back, but the laughter bubbled up again.
Me: "A concrete pillar? I thought you saw yourself as a charismatic granite statue."
Pierre: "Granite? Pfft. Have you seen my knees? They’re more like crumbling mortar. And charismatic? Maybe if you threw a spotlight on me and played some nostalgic jazz in the background."
I slapped my knee, laughing, while Pierre sipped his coffee resignedly.
Me: "Okay, we agree—no Kristen or younger women. But what about Marilyn? She might not care about her knees. She’s a Time-traveller, after all—she could see you at your best year!"
Pierre: "Are you crazy? Marilyn Monroe? I wouldn’t even dare breathe near her. She’d flash that smile, say something clever, and I’d drop dead on the spot."
Me: "So what about Anita, then? She might appreciate a solid, down-to-earth guy like you."
Pierre leaned back and shook his head.
Pierre: "Anita? She’d need fireworks as a companion, not a concrete pillar. No, it’s Frida I’d click with."
I raised an eyebrow, struggling not to laugh again.
Me: "Frida? You? What would you even talk about?"
Pierre: "Art, of course! She’d say I’m a living example of human impermanence, and I’d agree. She might even want to paint me as an old tree or something. You know, one of those trees that leans but still stands."
Now, I couldn’t hold back anymore and burst out laughing.
Me: "Pierre, you’re hopeless! Frida Kahlo would never settle for painting an ‘old tree.’ She’d paint you as a concrete sculpture with cracks filled with gold. Kintsugi-style. And you’d become world-famous."
Pierre: "Well, as long as Marilyn or Anita watched while I got painted, I might consider it."
Me: "So now we’re back to Marilyn and Anita again, huh?"
Pierre: "No, no. It’s Frida. I’m just being practical—someone has to keep them company while I’m sitting for the portrait."
We both burst out laughing and clinked our coffee mugs. It felt as if Marilyn, Frida, and Anita were right there with us for a moment—inspiring, fascinating, and unforgettable.
Jörgen Thornberg
Direkt från regnskogen, 2024
Digital
50 x 70 cm
3 200 kr
Direkt från regnskogen
‘‘Frida’s Canvas: A Poetic Ode’’
‘The Two Fridas’ sit, hearts laid bare,
A duality of love and despair.
One hand holds life, the other bleeds,
It’s a tale of self and broken needs.
‘The Broken Column’, her spine of stone,
Stands as proof she’s never alone.
Pain like arrows pierce her skin,
Yet strength is carved deep within.
‘Self-Portrait with Thorn Necklace and Hummingbird’,
A vibrant scene where emotions stir.
The thorns draw blood, the bird takes flight,
A symbol of freedom in an endless night.
‘Henry Ford Hospital’, where hope was lost,
Dreams of motherhood paid the cost.
Floating objects, her anguish laid,
On that stark white bed, her soul displayed.
‘What the Water Gave Me’ whispers loud,
Her memories swirl, her spirit unbowed.
A bathtub becomes a portal deep,
To visions of joy and pain, she keeps.
Each brushstroke sings, each hue commands,
A vibrant cry from trembling hands.
Through every canvas, bold and true,
Frida’s heart beats, and her spirit renews.
Now she soars, a bird set free,
Her message spans eternity.
Through ‘Viva Frida’, her spirit flies,
Across the world, where her truth lies.
Her art, her pain, her fierce acclaim,
A timeless echo of her name.
Malmö, October 2024
The Conversation about Marilyn, Malmö, and the Mischievous Stars
Pierre and I had been sitting in his kitchen, drinking coffee and chatting, when I dropped the bombshell. He froze, staring at me with his cup halfway to his lips.
Me: "You’re not going to believe this, Pierre. I met Marilyn Monroe yesterday."
Pierre paused, his cup halfway to his lips, his expression akin to someone who had just been told life was discovered on Mars.
Pierre: "Wait… WHAT? Marilyn Monroe? She’s… you know… been dead since 1962! Are you sure you didn't just see a Marilyn Monroe lookalike contest?"
Me: "Yeah, yeah, I know. But get this, Pierre. She’s a Time-traveller now. She can go wherever she wants from her star. And, for the first time, she chose Malmö. I mean, who would've thought, right?"
Pierre shook his head and laughed sceptically.
Pierre: "Malmö? Why Malmö of all places? It’s hardly Hollywood."
Me: "It was Anita Ekberg who convinced her. You know, Anita was born here. And if that wasn’t enough, they brought Frida Kahlo along! The three of them truly owned the city last night."
Pierre leaned back in his chair, trying to process what I had just told him.
Pierre: "Okay, I don’t know what you’ve been drinking, but go on. How was Marilyn? Was she as mischievous and charming as in the movies?"
Me: "Exactly! But it was more than just her mischief, Pierre. She had this spark, you know, the kind that makes the whole room stop and stare. She could laugh at herself in a way few can. And she was smarter than most people gave her credit for. I asked her about her roles, and she laughed and said she knew the world saw her as a ‘dumb blonde,’ but that it was a part she played better than anyone else."
Pierre smiled broadly and leaned forward.
Pierre: "But surely, that must’ve been frustrating for her, being trapped in that role. I mean, she was so much more than that. Isn’t that why she broke so many norms?"
Me: "Exactly! She told me she loved turning expectations upside down. Like in *Some Like It Hot*—her role as Sugar Kane wasn’t just flirty and playful but genius in its own right. She used humour and mischief as a weapon to pave the way for women in the film industry."
Pierre nodded thoughtfully as he stirred his coffee.
Pierre: "So, she was naughty in a strategic, almost political way. She used her charm to take control of her life and image. But… wasn’t it also a form of escape sometimes? I’ve heard she struggled a lot with insecurities."
I put my cup down and sighed lightly.
Me: "Yeah, that’s true. She was human, Pierre. Behind all that glamour was a woman wrestling with trauma and a deep need to be loved for who she was. But that’s what made her so fascinating. She could be both vulnerable and firm."
Pierre leaned back again and let out a laugh.
Pierre: "And now she’s wandering around Malmö with Anita Ekberg and Frida Kahlo. Sounds like the start of a wild adventure."
Pierre had heard my stories before and eventually accepted that they were true, no matter how strange they sounded. He knew about my connections with Time-travellers, which began on Hydra, where one of the space-time wormholes opens. It all started with a certain Babis Mores and his huge reunion party for his old friends from the Lagoudera nightclub and the carefree 1960s. I had been recommended as someone who could keep secrets and was positively inclined toward Time-travellers. That party had led to many encounters since, often with Leonard Cohen and his now-eternal partner, Marianne.
"You should’ve seen them, Pierre! Marilyn, in her iconic white dress, charming the bus driver at Gustav Adolfs Square. Anita, with a bottle of champagne, toasting, ‘Skål för Malmö!’ And Frida... well, she was deep in a discussion with some art students at Lilla Torg, probably about why their Instagram filters don’t do her work justice."
Pierre laughed so hard he nearly spilt his coffee, and I couldn't help but join in. The image of Marilyn, Anita, and Frida causing a stir in Malmö was just too amusing.
Pierre: "You’re insane, you know that? But you know what? If anyone could make Malmö glamorous, it’s those three."
We laughed together, and I felt that, somehow, we had managed to capture the mischief and depth of Marilyn Monroe—a woman who never ceases to fascinate no matter what time she’s in.
---
Pierre leaned forward and jabbed a finger at me, his face comically serious.
Pierre: "You’d better not tell Kristen about this conversation. She’d say I’ve turned into a dirty old man. She already thinks your Time-traveller tales are ridiculous, even though she secretly enjoys them."
I chuckled and raised an eyebrow.
Me: "And is she wrong?"
Pierre: "Not entirely, but not in the way she means! These women are way older than an old codger like me. What are the—120 for Frida? Nearly 100 for Marilyn? This is historical admiration, not some cheap fantasy."
I laughed louder, which wasn’t kind, and Pierre snorted at me.
Me: "So what you’re saying is that you prefer younger women, huh?"
Pierre: "Are you joking? I gave up on younger women ages ago. To them, I’m about as exciting as a concrete pillar. Grey, stable, and utterly uninteresting."
I tried to hold back, but the laughter bubbled up again.
Me: "A concrete pillar? I thought you saw yourself as a charismatic granite statue."
Pierre: "Granite? Pfft. Have you seen my knees? They’re more like crumbling mortar. And charismatic? Maybe if you threw a spotlight on me and played some nostalgic jazz in the background."
I slapped my knee, laughing, while Pierre sipped his coffee resignedly.
Me: "Okay, we agree—no Kristen or younger women. But what about Marilyn? She might not care about her knees. She’s a Time-traveller, after all—she could see you at your best year!"
Pierre: "Are you crazy? Marilyn Monroe? I wouldn’t even dare breathe near her. She’d flash that smile, say something clever, and I’d drop dead on the spot."
Me: "So what about Anita, then? She might appreciate a solid, down-to-earth guy like you."
Pierre leaned back and shook his head.
Pierre: "Anita? She’d need fireworks as a companion, not a concrete pillar. No, it’s Frida I’d click with."
I raised an eyebrow, struggling not to laugh again.
Me: "Frida? You? What would you even talk about?"
Pierre: "Art, of course! She’d say I’m a living example of human impermanence, and I’d agree. She might even want to paint me as an old tree or something. You know, one of those trees that leans but still stands."
Now, I couldn’t hold back anymore and burst out laughing.
Me: "Pierre, you’re hopeless! Frida Kahlo would never settle for painting an ‘old tree.’ She’d paint you as a concrete sculpture with cracks filled with gold. Kintsugi-style. And you’d become world-famous."
Pierre: "Well, as long as Marilyn or Anita watched while I got painted, I might consider it."
Me: "So now we’re back to Marilyn and Anita again, huh?"
Pierre: "No, no. It’s Frida. I’m just being practical—someone has to keep them company while I’m sitting for the portrait."
We both burst out laughing and clinked our coffee mugs. It felt as if Marilyn, Frida, and Anita were right there with us for a moment—inspiring, fascinating, and unforgettable.
3 200 kr
Jörgen Thornberg
Malmö
Lite om bilder och mig. Translation in English at the end.
Jag är en nyfiken person som ser allt i bilder, även det jag fäster i ord, gärna tillsammans för bakom alla mina bilder finns en berättelse. Till vissa bilder hör en kortare eller längre novell som följer med bilden.
Bilder berättar historier. Jag omges av naturlig skönhet, intressanta människor och historia var jag än går. Jag använder min kamera för att dokumentera världen och blanda det jag ser med vad jag känner för att fånga den dolda magin.
Mina bilder berättar mina historier. Genom mina bilder, tryck och berättelser. Jag bjuder in dig att ta del av dessa berättelser, in i ditt liv och hem och dela min mycket personliga syn på vår värld. Mer än vad ögat ser. Jag tänker i bilder, drömmer och skriver och pratar om dem; följaktligen måste jag också skapa bilder. De blir vad jag ser, inte nödvändigtvis begränsade till verkligheten. Det finns en bild runt varje hörn. Jag hoppas att du kommer att se vad jag såg och gilla det.
Jag är också en skrivande person och till många bilder hör en kortare eller längre essay. Den följer med tavlan, tryckt på fint papper och med en personlig hälsning från mig.
Flertalet bilder startar sin resa i min kamera. Enkelt förklarat beskriver jag bilden jag ser i mitt inre, upplevd eller fantiserad. Bilden uppstår inom mig redan innan jag fått okularet till ögat. På bråkdelen av ett ögonblick ser jag vad jag vill ha och vad som kan göras med bilden. Här skall jag stoppa in en giraff, stålmannen, Titanic eller vad det är min fantasi finner ut. Ännu märkligare är att jag kommer ihåg minnesbilden långt efteråt när det blir tid att skapa verket. Om jag lyckas eller inte, är upp till betraktaren, oftast präglat av en stråk av svart humor – meningen är att man skall bli underhållen. Mina bilder blir ofta en snackis där de hänger.
Jag föredrar bilder som förmedlar ett budskap i flera lager. Vid första anblicken fylld av feel-good, en vacker utsikt, fint väder, solen skiner, blommor på ängen eller vattnet som ligger förrädiskt spegelblankt. I en sådan bild kan jag gömma min egentliga berättelse, mitt förakt för förtryckare och våldsverkare, rasister och fördomsfulla människor - ett gärna återkommande motiv mer eller mindre dolt i det vackra motivet. Jag försöker förena dem i ett gemensamt narrativ.
Bild och formgivning har löpt som en röd tråd genom livet. Fotokonst känns som en värdig final som jag gärna delar med mig.
Min genre är vid som framgår av mina bilder, temat en blandning av pop- och gatukonst i kollage som kan bestå av hundratals lager. Vissa bilder kan ta veckor, andra någon dag innan det är dags att överlämna resultatet till printverkstaden. Fine Art Prints är digitala fotocollage. I dessa kollage sker rivandet, klippandet, pusslandet, målandet, ritandet och sprayningen digitalt. Det jag monterar in kan vara hundratals år gamla bilder som jag omsorgsfullt frilägger så att de ser ut att vara en del av tavlan men också bilder skapade av mig själv efter min egen fantasi. Därefter besöks printstudion och för vissa bilder numrera en limiterad upplaga (oftast 7 exemplar) och signera för hand. Vissa bilder kan köpas i olika format. Det är bara att fråga efter vilka. Gillar man en bild som är 70x100 men inte har plats på väggen, går den kanske att få i 50x70 cm istället. Frågan är fri.
Metoden Giclée eller Fine Art Print som det också kallas är det moderna sättet för framställning av grafisk konst. Villkoret för denna typ av utskrifter är att en högkvalitativ storformatskrivare används med åldersbeständigt färgpigment och konstnärspapper eller i förekommande fall på duk. Pappret som används möter de krav på livslängd som ställs av museer och gallerier. Normalt säljer jag mina bilder oinramade så att den nya ägaren själv kan bestämma hur de skall se ut, med eller utan passepartout färg på ram, med eller utan glas etc..
Under många år ställde jag bara ut på nätet, i valda grupper och på min egen Facebooksida - https://www.facebook.com/jorgen.thornberg.9
Jag finns också på en egen hemsida som tyvärr inte alltid är uppdaterad – https://www.jth.life/ Där kan du också läsa en del av de berättelser som följer med bilden.
UTSTÄLLNINGAR
Luftkastellet, oktober 2022
Konst i Lund, november 2022
Luftkastellet, mars 2023
Engleson Galleri Caroli, april 2023
Hydra, Greece June 2023
Engleson Galleri Caroli, oktober 2023
Toppen, Höllviken december 2023
Luftkastellet, mars 2024
Torups Galleri, mars 2024
Venice, May 2024
Luftkastellet, oktober 2024
Konst i Advent, December 2024
Galleri Engleson, Caroli December 2024
Jäger & Jansson Galleri, april 2025
A bit about pictures and me.
I'm a curious person who sees everything in pictures, even what I express in words, often combining them, for behind all my pictures lies a story. These narratives, some as short as a single image and others as long as a novel, are the heart and soul of my work.
Pictures tell stories. Wherever I go, I'm surrounded by natural beauty, exciting people, and history. I use my camera to document the world and blend what I see with what I feel to capture the hidden magic.
My images tell my stories. Through my pictures, prints, and narratives, I invite you to partake in these stories in your life and home and share my deeply personal perspective of our world. More than meets the eye. I think in pictures, dream, write, and talk about them; consequently, I must create images too. They become what I see, not necessarily confined to reality. There's a picture around every corner. I hope you'll see what I saw and enjoy it.
I'm also a writer, and many images come with a shorter or longer essay. It accompanies the painting, printed on fine paper with my personal greeting.
Many pictures start their journey on my camera. Simply put, I describe the image I see in my mind, experienced or imagined. The image arises within me even before I bring the eyepiece to my eye. In a fraction of a moment, I see what I want and what can be done with the picture. Here, I'll insert a giraffe, Superman, the Titanic, or whatever my imagination conjures up. Even stranger is that I remember the mental image long after it's time to create the work. Whether I succeed is up to the observer, often imbued with a streak of black humour – the aim is to entertain. My pictures usually become a talking point wherever they hang.
I prefer pictures that convey a message in multiple layers. At first glance, they're filled with feel-good vibes, a beautiful view, lovely weather, the sun shining, flowers in the meadow, or the water lying deceptively calm. But beneath this surface beauty, I often conceal a deeper story, a narrative that challenges societal norms or explores the human condition. I invite you to delve into these hidden narratives and discover the layers of meaning within my work.
Picture and design have been a thread running through my life. Photographic art feels like a fitting finale, and I'm happy to share it.
My genre is varied, as seen in my pictures; the theme is a blend of pop and street art in collages that can consist of hundreds of layers. Some images can take weeks, others just a day before it's time to hand over the result to the print workshop. Fine Art Prints are digital photo collages. In these collages, tearing, cutting, puzzling, painting, drawing, and spraying happen digitally. What I insert can be images hundreds of years old that I carefully extract so they appear to be part of the painting, but also images created by myself, now also generated from my imagination. Next, visit the print studio and, for certain images, number a limited edition (usually 7 copies) and sign them by hand. Some images may be available in other formats. Just ask which ones. If you like an image that's 70x100 but doesn't have space on the wall, you might be able to get it in 50x70 cm instead. The question is open.
The Giclée method, or Fine Art Print as it's also called, is the modern way of producing graphic art. This method ensures the highest quality and longevity of the artwork, using a high-quality large-format printer with archival pigment inks and artist paper or, in some cases, canvas. The paper used meets the longevity requirements set by museums and galleries. I sell my pictures unframed, allowing the new owner to personalise their artwork, confident in the lasting value and quality of the piece.
For many years, I only exhibited online, in selected groups, and on my Facebook page - https://www.facebook.com/jorgen.thornberg.9. I also have my website, which unfortunately is not constantly updated - https://www.jth.life/. You can also read some of the stories accompanying the pictures there.
EXHIBITIONS
Luftkastellet, October 2022
Art in Lund, November 2022
Luftkastellet, March 2023
Engleson Gallery Caroli, April 2023
Hydra, Greece June 2023
Engleson Gallery Caroli, October 2023
Toppen, Höllviken December 2023
Luftkastellet, March 2024
Torup Gallery, March 2024
Venice, May 2024
UTSTÄLLNINGAR
Luftkastellet, oktober 2022
Konst i Lund, november 2022
Luftkastellet, mars 2023
Engleson Galleri Caroli, april 2023
Hydra, Greece June 2023
Engleson Galleri Caroli, oktober 2023
Toppen, Höllviken december 2023
Luftkastellet, mars 2024
Torups Galleri, mars 2024
Venice, May 2024
Luftkastellet, October 2024
Konst i Advent, December 2024
Galleri Engleson, Caroli December 2024
Jäger & Jansson Galleri, April 2025
Utbildning
Autodidakt
Medlem i konstnärsförening
Öppna Sinnen
Med i konstrunda
Konstrundan i Skåne
Utställningar
Luftkastellet, October 2022
Art in Lund, November 2022
Luftkastellet, March 2023
Engleson Gallery Caroli, April 2023
Hydra, Greece June 2023
Engleson Gallery Caroli, October 2023
Toppen, Höllviken December 2023
Luftkastellet, March 2024
Torup Gallery, March 2024
Venice, May 2024