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Jörgen Thornberg
Frida A Venus Femme Fatale, 2024
Digital
80 x 80 cm
4 500 kr
Frida A Venus Femme Fatale
“Venus in the Wind
Venus stands, her form laid bare,
Once, blonde locks drifting, soft as air.
The winds of time have had their say,
Blowing her beauty every which way.
Morals have shifted, tastes have turned,
Her innocence questioned, her naivety burned.
The golden strands of Botticelli’s art,
Now replaced by hair as black as the heart.
Frida’s hand, with fearless might,
Gave her tresses that match the night.
Dangerous, honest, wild, and free—
No room for artistic hypocrisy.
No soft illusion, no timid grace,
This Venus dares to meet your face.
Her gaze is fierce, her strength untamed,
A goddess reborn, no longer framed.
The winds still blow, yet she stands tall,
A mirror to love, to rise, to fall.
No longer a dream, she’s raw, she’s real,
Venus unmasked, her truth to reveal.
Malmö, December 2024
In July, Frida had been in Malmö for almost a year and had already performed in three plays at the Nöjesteatern. By autumn, she was scheduled for a fourth. It was also seventy years since she had left Earth to journey to her star. The thirteenth of July held no special reason for her to celebrate. Time-travelers rarely have cause to commemorate their death dates, as they dislike speaking about death. Moreover, most perceive eternity as infinitely preferable to their time on Earth. Behind them, they leave pain and illness, and in eternity, they can live at any age of their choosing, free from the fear of death or other anxieties.
However, Frida chose to honour her short life on Earth—only forty-seven years—because of a celebrated event in the art world: the Frida Kahlo Retrospective. This retrospective, not just a collection of paintings but a celebration of women's strength and resilience, uplifted and empowered all who experienced it. Frida's version of Klimt's ‘Woman with Fan’ was one of many important paintings, each a testament to the power of art to inspire and empower.
It brought together all the paintings Frida had created after she had laid down her brush for the last time. Her life had been marked by severe health issues, and from 1953, she was bedridden following an amputation. However, this did not deter her from her passion for painting or even participating in political events; her bed was carried wherever she wished to go, a testament to her unwavering determination and courage. Her resilience in the face of adversity is a source of inspiration for all, a reminder that creativity and passion can thrive even in the darkest of times.
Frida embarked on an ambitious project that set her apart from other artists in eternity. She encountered creators from all eras and decided to paint extraordinary women from history with whom she identified. This unique project, with its fresh and innovative interpretations of historical art, was a testament to her creativity and the power of art to transcend time and space, sparking intrigue and appreciation among audiences. It remained unknown until the paintings were discovered recently—not by chance, but carefully orchestrated by Frida herself.
Thus, the paintings at Malmö’s Moderna Museet, including canvases and statues featuring Frida, reimagine well-known motifs but now incorporate her face and body. The entire collection was discovered in a hidden room behind a wall at Casa Azul, her home in the Coyoacán neighbourhood of Mexico City. Three dozen previously unknown paintings caused a global sensation and sparked intense debate, as their style did not match her known works. The international attention these paintings received underscored the exhibition's significance, making it a cultural event of global importance. The world was particularly captivated by Frida’s interpretation of Botticelli’s Venus, a testament to the universal appeal of her art.
Frida Kahlo shared with me her personal and spiritual reflection on this piece. I cannot recount the entire story except as part of a whimsical exhibition presentation. However, art experts summoned to study the collection were supported by notes Frida had left alongside the paintings. The handwriting was unmistakably hers, and the commentary was essential for understanding the purpose of the works and why she had hidden them. Simply put, the world of the 1950s was not ready for such messages—they had to wait for their time, and that time is now. I quote Frida’s own words:
This brings us to the next painting, where I share my interpretation of the far-from-innocent Venus of Botticelli.
Me: “Frida, can I call you a Venus femme fatale? It feels fitting, but I’m sure it has a deeper meaning in your case.”
Frida: (Smiling enigmatically) “You may try, but words are slippery. Let’s talk about the painting instead.”
(She gestures to the bold canvas before us.)
Frida: “My version of The Birth of Venus differs greatly from Botticelli’s original. Where he painted innocence, delicacy, and a faint, unknowing smile, I chose to show something far more real. Botticelli’s Venus might have been beautiful, but she was also naïve—a hollow vessel for men’s fantasies, untouched by the fire of experience. That didn’t resonate with me, nor could I emulate it. I’m far too seasoned to pretend I was ever reborn as a simpleton.”
Me: “So you think Botticelli’s Venus didn’t understand what it means to be the goddess of love?”
Frida: “Exactly. Look at her smile—soft, placid, utterly clueless. She hovers on sea foam, untouched by the realities of love’s weight or passion’s flames. My Venus could never hover. She stands firmly, her feet braced against the storm because she understands what love is. She’s felt its heat, its betrayal, its ecstasy.”
(She taps the edge of the frame with her finger, drawing my attention to the figure’s intense gaze.)
Frida: “That’s why I gave her my face—not one crafted by the desires of men, but my real face—a face shaped by love and loss, by betrayals and triumphs. My Venus wasn’t born from sea foam; she emerged from blood, sweat, and tears. Her scars are visible, but so is her strength. She doesn’t need to smile sweetly to make you feel at ease. She doesn’t need to be palatable.”
Me: “And her hair? It’s striking, wild, completely different from Botticelli’s delicate curls.”
Frida: “Ah, the hair! Botticelli’s Venus has golden waves that float like soft clouds, perfectly arranged, as if untouched by the wind. My Venus has hair that has weathered storms. It’s alive, untamed, and unapologetically dark. I kept the shell hidden here, but she no longer stands waiting to be dressed or rescued. She’s a force of her own, untouched by the fantasies of men who want love to be neat and soft.
“The background in Botticelli’s painting is calm—a peaceful sea, a tranquil horizon. But look here.” (She points to the stormy waves crashing around her Venus.) “I painted a raging sea because love is rarely calm. Love is change, chaos, movement, destruction, and rebirth. My Venus knows this from idle smiles and living through it.”
Me: “And her body? You’ve portrayed her so boldly.”
Frida: “Her body does not apologise. Botticelli cloaked his Venus in shadows and light as if protecting her from the world. I gave my Venus a body that has been loved, scarred, and celebrated—a body that knows it is both freedom and a prison.
“When I painted her, I wrapped her in damp linen. Not to hide her but to show the sensuality of vulnerability. Being unwrapped—not overtaken, but revealed—felt more honest. This Venus is not waiting to be saved or idolised. She’s lived. She’s been unravelled by love and survived its weight.”
Me: “You’ve stripped away the illusion, the fantasy.”
Frida: “Completely. Botticelli’s Venus represents a fantasy that ignores the reality of women’s lives. She’s the eternal virgin, the untouched ideal. Even today, we see similar concepts—like the idea of forty virgins waiting in heaven, dolls untouched by life or struggle, smiling innocently as though love has no demands. Botticelli’s Venus could be one of those dolls.”
(She tilts her head, her eyes narrowing slightly.)
Frida: “But my Venus? She is no doll. She carries every wound, every triumph, every ounce of joy and pain that love entails. She is dangerous, yes—because love is dangerous. But she is also real.
“When I finished this painting, I saw something Botticelli’s Venus never had: truth. My Venus is me. She is you. She is every woman who has loved deeply, lost greatly and stood up again. She’s not a fantasy born from foam but an ocean of experience—deep, dark at times, but always honest. She doesn’t carry an illusion. She carries life itself.”
Me: “And all its weight and fire.”
Frida: (Nodding slowly, her voice softening.) “Yes. Love is not a perfect smile. It’s a scarred heart that still beats, a soul unafraid to face the storm.”
Me: "Some modern feminist critics have issues with Botticelli's ‘Venus’, interpreting it as a representation of the male gaze or an idealised portrayal of femininity. What’s your take on that?"
Frida: "As I’ve said, I have my own issues with the painting, which is why I reinterpreted it in my way. However, I respect Botticelli’s work—it’s a child of its time, naïve and innocent. His ‘Venus’ can also be seen as celebrating feminine strength, beauty, and mystique rather than pure objectification.
Let’s be honest: beautiful statues of naked men affect me too. The human drive is natural, but it should never be misused. Nudity itself isn’t condemnable, only when it adopts poses that a virtuous woman wouldn’t reveal except to her lover behind closed doors—certainly not on a museum wall. The next painting is a perfect example of that dilemma."
(Frida points toward another canvas, her finger lingering thoughtfully on the edge as if inviting me to step closer and see.)
Jörgen Thornberg
Frida A Venus Femme Fatale, 2024
Digital
80 x 80 cm
4 500 kr
Frida A Venus Femme Fatale
“Venus in the Wind
Venus stands, her form laid bare,
Once, blonde locks drifting, soft as air.
The winds of time have had their say,
Blowing her beauty every which way.
Morals have shifted, tastes have turned,
Her innocence questioned, her naivety burned.
The golden strands of Botticelli’s art,
Now replaced by hair as black as the heart.
Frida’s hand, with fearless might,
Gave her tresses that match the night.
Dangerous, honest, wild, and free—
No room for artistic hypocrisy.
No soft illusion, no timid grace,
This Venus dares to meet your face.
Her gaze is fierce, her strength untamed,
A goddess reborn, no longer framed.
The winds still blow, yet she stands tall,
A mirror to love, to rise, to fall.
No longer a dream, she’s raw, she’s real,
Venus unmasked, her truth to reveal.
Malmö, December 2024
In July, Frida had been in Malmö for almost a year and had already performed in three plays at the Nöjesteatern. By autumn, she was scheduled for a fourth. It was also seventy years since she had left Earth to journey to her star. The thirteenth of July held no special reason for her to celebrate. Time-travelers rarely have cause to commemorate their death dates, as they dislike speaking about death. Moreover, most perceive eternity as infinitely preferable to their time on Earth. Behind them, they leave pain and illness, and in eternity, they can live at any age of their choosing, free from the fear of death or other anxieties.
However, Frida chose to honour her short life on Earth—only forty-seven years—because of a celebrated event in the art world: the Frida Kahlo Retrospective. This retrospective, not just a collection of paintings but a celebration of women's strength and resilience, uplifted and empowered all who experienced it. Frida's version of Klimt's ‘Woman with Fan’ was one of many important paintings, each a testament to the power of art to inspire and empower.
It brought together all the paintings Frida had created after she had laid down her brush for the last time. Her life had been marked by severe health issues, and from 1953, she was bedridden following an amputation. However, this did not deter her from her passion for painting or even participating in political events; her bed was carried wherever she wished to go, a testament to her unwavering determination and courage. Her resilience in the face of adversity is a source of inspiration for all, a reminder that creativity and passion can thrive even in the darkest of times.
Frida embarked on an ambitious project that set her apart from other artists in eternity. She encountered creators from all eras and decided to paint extraordinary women from history with whom she identified. This unique project, with its fresh and innovative interpretations of historical art, was a testament to her creativity and the power of art to transcend time and space, sparking intrigue and appreciation among audiences. It remained unknown until the paintings were discovered recently—not by chance, but carefully orchestrated by Frida herself.
Thus, the paintings at Malmö’s Moderna Museet, including canvases and statues featuring Frida, reimagine well-known motifs but now incorporate her face and body. The entire collection was discovered in a hidden room behind a wall at Casa Azul, her home in the Coyoacán neighbourhood of Mexico City. Three dozen previously unknown paintings caused a global sensation and sparked intense debate, as their style did not match her known works. The international attention these paintings received underscored the exhibition's significance, making it a cultural event of global importance. The world was particularly captivated by Frida’s interpretation of Botticelli’s Venus, a testament to the universal appeal of her art.
Frida Kahlo shared with me her personal and spiritual reflection on this piece. I cannot recount the entire story except as part of a whimsical exhibition presentation. However, art experts summoned to study the collection were supported by notes Frida had left alongside the paintings. The handwriting was unmistakably hers, and the commentary was essential for understanding the purpose of the works and why she had hidden them. Simply put, the world of the 1950s was not ready for such messages—they had to wait for their time, and that time is now. I quote Frida’s own words:
This brings us to the next painting, where I share my interpretation of the far-from-innocent Venus of Botticelli.
Me: “Frida, can I call you a Venus femme fatale? It feels fitting, but I’m sure it has a deeper meaning in your case.”
Frida: (Smiling enigmatically) “You may try, but words are slippery. Let’s talk about the painting instead.”
(She gestures to the bold canvas before us.)
Frida: “My version of The Birth of Venus differs greatly from Botticelli’s original. Where he painted innocence, delicacy, and a faint, unknowing smile, I chose to show something far more real. Botticelli’s Venus might have been beautiful, but she was also naïve—a hollow vessel for men’s fantasies, untouched by the fire of experience. That didn’t resonate with me, nor could I emulate it. I’m far too seasoned to pretend I was ever reborn as a simpleton.”
Me: “So you think Botticelli’s Venus didn’t understand what it means to be the goddess of love?”
Frida: “Exactly. Look at her smile—soft, placid, utterly clueless. She hovers on sea foam, untouched by the realities of love’s weight or passion’s flames. My Venus could never hover. She stands firmly, her feet braced against the storm because she understands what love is. She’s felt its heat, its betrayal, its ecstasy.”
(She taps the edge of the frame with her finger, drawing my attention to the figure’s intense gaze.)
Frida: “That’s why I gave her my face—not one crafted by the desires of men, but my real face—a face shaped by love and loss, by betrayals and triumphs. My Venus wasn’t born from sea foam; she emerged from blood, sweat, and tears. Her scars are visible, but so is her strength. She doesn’t need to smile sweetly to make you feel at ease. She doesn’t need to be palatable.”
Me: “And her hair? It’s striking, wild, completely different from Botticelli’s delicate curls.”
Frida: “Ah, the hair! Botticelli’s Venus has golden waves that float like soft clouds, perfectly arranged, as if untouched by the wind. My Venus has hair that has weathered storms. It’s alive, untamed, and unapologetically dark. I kept the shell hidden here, but she no longer stands waiting to be dressed or rescued. She’s a force of her own, untouched by the fantasies of men who want love to be neat and soft.
“The background in Botticelli’s painting is calm—a peaceful sea, a tranquil horizon. But look here.” (She points to the stormy waves crashing around her Venus.) “I painted a raging sea because love is rarely calm. Love is change, chaos, movement, destruction, and rebirth. My Venus knows this from idle smiles and living through it.”
Me: “And her body? You’ve portrayed her so boldly.”
Frida: “Her body does not apologise. Botticelli cloaked his Venus in shadows and light as if protecting her from the world. I gave my Venus a body that has been loved, scarred, and celebrated—a body that knows it is both freedom and a prison.
“When I painted her, I wrapped her in damp linen. Not to hide her but to show the sensuality of vulnerability. Being unwrapped—not overtaken, but revealed—felt more honest. This Venus is not waiting to be saved or idolised. She’s lived. She’s been unravelled by love and survived its weight.”
Me: “You’ve stripped away the illusion, the fantasy.”
Frida: “Completely. Botticelli’s Venus represents a fantasy that ignores the reality of women’s lives. She’s the eternal virgin, the untouched ideal. Even today, we see similar concepts—like the idea of forty virgins waiting in heaven, dolls untouched by life or struggle, smiling innocently as though love has no demands. Botticelli’s Venus could be one of those dolls.”
(She tilts her head, her eyes narrowing slightly.)
Frida: “But my Venus? She is no doll. She carries every wound, every triumph, every ounce of joy and pain that love entails. She is dangerous, yes—because love is dangerous. But she is also real.
“When I finished this painting, I saw something Botticelli’s Venus never had: truth. My Venus is me. She is you. She is every woman who has loved deeply, lost greatly and stood up again. She’s not a fantasy born from foam but an ocean of experience—deep, dark at times, but always honest. She doesn’t carry an illusion. She carries life itself.”
Me: “And all its weight and fire.”
Frida: (Nodding slowly, her voice softening.) “Yes. Love is not a perfect smile. It’s a scarred heart that still beats, a soul unafraid to face the storm.”
Me: "Some modern feminist critics have issues with Botticelli's ‘Venus’, interpreting it as a representation of the male gaze or an idealised portrayal of femininity. What’s your take on that?"
Frida: "As I’ve said, I have my own issues with the painting, which is why I reinterpreted it in my way. However, I respect Botticelli’s work—it’s a child of its time, naïve and innocent. His ‘Venus’ can also be seen as celebrating feminine strength, beauty, and mystique rather than pure objectification.
Let’s be honest: beautiful statues of naked men affect me too. The human drive is natural, but it should never be misused. Nudity itself isn’t condemnable, only when it adopts poses that a virtuous woman wouldn’t reveal except to her lover behind closed doors—certainly not on a museum wall. The next painting is a perfect example of that dilemma."
(Frida points toward another canvas, her finger lingering thoughtfully on the edge as if inviting me to step closer and see.)
4 500 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