Vi använder cookies för att ge dig bästa möjliga upplevelse. Välj vilka cookies du tillåter.
Läs mer i vår integritetspolicy
Jörgen Thornberg
Last Minute – 4 PM Happy Hour - I Sista Minuten, 2025
Digital
50 x 70 cm
3 200 kr
Last Minute – 4 PM Happy Hour - I Sista minuten
North by Northwest meets Södra Förstadsgatan in Malmö.
The man in the picture thought he was buying a shirt.
Now he's being chased by aeroplanes, bargain hunters, and a discount code that expires in three minutes.
No one knows who he is. Not even he does.
But everyone knows where the sale begins.
Let's delve into how the 'eruption' metaphor intertwines with the film's narrative and themes, captivating us with its intricate storytelling.
Let's dissect the significance of the phrase 'Last Minute—4 PM Happy Hour' in the context of the film. This seemingly mundane phrase is a clever metaphor for the protagonist's desperate race against time and his relentless pursuit of a 'happy ending'.
It all began with a sale. Or at least that’s what he thought—one quiet summer afternoon on Södra Förstadsgatan, a man in a suit stepped out to buy a shirt. Nothing fancy. Nothing dramatic. Just a shirt. But fate, as we know, doesn’t care much for shopping lists.
Moments later, he’s running—arms flapping, eyes wide, suit creased—as a small plane descends over the rooftops. A pensioner drops her ice cream—a dog barks. Children scream with delight. It is unclear whether they’re watching street theatre, a film shoot, or reality itself taking an odd turn.
And yet… there’s something strangely familiar about it all. The posture. The panic. The perfect part in his hair. Have we not seen this man before—racing for his life across a dusty field in Hitchcock’s North by Northwest?
Or as we called it here in Sweden, ’I sista minuten’ (At the Last Minute). A far more fitting title. Because he is, without doubt, out of time.
“Roger’s Errand
Roger stepped out in the afternoon light,
Just for a shirt — nothing wild, nothing bright.
No secrets, no spies, no need to rehearse,
Just modern sleeves with a twist in reverse.
But fate had prepared him a thrilling cliché:
He whistled, turned left, and was snatched right away.
“George Kaplan!” they cried, though he said, “Not quite!”
They tied him up anyway—polite, but not right.
He leapt from a window, was chased through a square,
And was nearly run over by nuns at a fair.
A plane tried to kill him out under the sun,
And still he kept asking, “But why must I run?”
On a train bound for nowhere (or maybe just west),
He met Eve Kendall, suave, sharp, and well-dressed.
She whispered sweet nothings, she lied with such grace,
That poor Roger melted—his heart out of place.
She fed him with secrets, with bourbon, and steak,
While casually plotting what agent to break.
Yet love (or confusion) began to ignite—
He followed her straight to Mount Rushmore by night.
They hung off a nostril, they clung to a brow,
While chaos exploded around them, somehow.
And just as she slipped, the danger grew near—
He caught her and whispered, “I’ve switched to low gear.”
Then—cut!—and we’re suddenly deep in a train,
Where Eve takes control with no hint of refrain.
She presses him back with a look and a grin,
And Roger? He blushes… then gives right in.
Later, Roger, at home, makes lunches with flair,
He irons his shirts and conditions his hair.
He vacuums, he folds, he packs daycare bags,
While Eve holds a TED talk and flies business class.
She’s briefing the UN while he checks for lice—
And frankly, dear reader, he finds it quite nice.”
Malmö May 2025
Last Minute – 4 PM Happy Hour
Why the hurry? And haven’t I seen this picture before? Isn’t that the successful advertising executive, Roger Thornhill, running for his life from the plane above? That’s how it looked in the film I sista minuten, as it was called in Sweden. Its original title was North by Northwest, which makes no sense in southwestern Sweden, where Södra Förstadsgatan and Malmö are located.
Roger, played by the ultimate charmer Cary Grant, is mistakenly kidnapped by a spy ring that believes he’s a counteragent named George Kaplan. Roger manages to escape, but he soon finds himself pursued by both the spies and the police, who think he’s a murderer. Kaplan, of course, is a fictitious persona created by the CIA to throw enemies off track. Roger follows that trail, and on the train to Chicago, he meets the beautiful and mysterious Eve Kendall, who offers to help him. Her appearance is a delight not just to Roger but to the male audience as well, but who is she? Eve turns out to have ties to the spies. But whose side is she on? And is she playing both?
Read on if you want to know. Otherwise, close your eyes for the following paragraph.
North by Northwest (I sista minuten) is a classic thriller directed by Alfred Hitchcock in 1959, often hailed as one of the greatest spy films ever made. It’s a suspenseful, stylish, and at times ironically funny tale of mistaken identity, pursuit, and a crescendo played out across some of America’s most iconic landscapes. The title North by Northwest, a nonsensical expression that perfectly fits the film’s theme of disorientation and confusion, adds an intriguing layer of irony and suspense, leaving the audience curious and engaged. More on that poetic twist later.
The film is renowned for several unforgettable scenes: the crop-duster attack in the empty field, where Thornhill is hunted by a low-flying plane. This image bears a curious resemblance to what happened on Södra Förstadsgatan that sunny summer afternoon. Then there is the Mount Rushmore climax, a scene that has become iconic in cinema history, where the final confrontation unfolds quite literally across the faces of dead American presidents, with danger hanging—quite literally—by a thread. These scenes, etched in the memories of film enthusiasts, continue to inspire and influence the cinematic world, a testament to the film's enduring impact.
This film laid the groundwork for future Bond movies: charming heroes, femme fatales, gadgets, exotic travel, and villainous masterminds. Its themes are classic Hitchcock: mistaken identity—the everyman innocently drawn into a conspiracy; surveillance and manipulation—Thornhill is constantly being watched and misled. Does that sound familiar? The film's influence on the Bond franchise is undeniable and continues to inspire and influence the cinematic world. And let us not forget the blend of espionage and erotic tension, a unique and captivating aspect of the film, especially in the scenes between Roger and Eve.
So, how does it all end?
Surprisingly well, actually. Roger and Eve end up together—but only after deceiving one another, being betrayed, nearly getting killed, and scrambling across the granite faces of American presidents. In the final act, Eve is revealed to be a secret agent who had infiltrated the villain’s inner circle, placing herself in mortal danger. Roger risks everything to save her, and the showdown occurs on Mount Rushmore. As Eve begins to fall from the monument, Roger grabs her hand. In one of Hitchcock’s most elegant transitions, we cut from him pulling her up to pulling her into a train compartment bed—now his wife. The satisfying and fulfilling ending leaves the audience with a sense of closure and contentment.
The final scene is classic Hitchcock: ironic, sensual, and sleek. It is implied that the couple are either married or soon to be—and as the train rushes into a tunnel, we’re given a famous symbolic shot of their passionate union. Because, well… that’s how it is.
A female friend once said, “Never put off till tomorrow what your man can do today.” What he thinks about that, I don’t know—I haven’t asked. But I can guess. He probably belongs to the category of henpecked heroes, all macho with the lads. And let’s be clear: Roger didn’t seal the deal. It was Eve who pushed him down onto the bed. He may have been a successful ad man, but she would ensure he became a handsome husband and cared for her and all the children they’d someday have. At the very least, he’ll take care of his share of their life together—doing the dishes, cleaning, ironing his shirts, dropping off and picking up the kids from daycare, being generally handy and thoughtful.
Of course, that part isn’t in the film—it’s something the cinema audience is left to fantasise about. If Roger really is that dream prince.
But back to the title. Why did Hitchcock choose North by Northwest?
Much has been discussed, but here are a few plausible reasons. It could be a linguistic joke—Hitchcock adored ambiguous and “wrong” titles. North by Northwest suggests being lost, heading in a direction that doesn’t quite exist. It may also be a Shakespeare reference—in Hamlet, the prince states: “I am but mad north-north-west. When the wind is southerly, I know a hawk from a handsaw.” This line speaks of feigning madness while fully aware of one’s surroundings, much like Roger in the film.
Alternatively, it may be pure symbolism. The protagonist moves literally and figuratively in the wrong direction throughout—a man pulled northward through misidentification and chase—but always in ways that defy logic.
Still, they ended up together in the end, despite everything.
And never forget: it’s always the woman who chooses.
Jörgen Thornberg
Last Minute – 4 PM Happy Hour - I Sista Minuten, 2025
Digital
50 x 70 cm
3 200 kr
Last Minute – 4 PM Happy Hour - I Sista minuten
North by Northwest meets Södra Förstadsgatan in Malmö.
The man in the picture thought he was buying a shirt.
Now he's being chased by aeroplanes, bargain hunters, and a discount code that expires in three minutes.
No one knows who he is. Not even he does.
But everyone knows where the sale begins.
Let's delve into how the 'eruption' metaphor intertwines with the film's narrative and themes, captivating us with its intricate storytelling.
Let's dissect the significance of the phrase 'Last Minute—4 PM Happy Hour' in the context of the film. This seemingly mundane phrase is a clever metaphor for the protagonist's desperate race against time and his relentless pursuit of a 'happy ending'.
It all began with a sale. Or at least that’s what he thought—one quiet summer afternoon on Södra Förstadsgatan, a man in a suit stepped out to buy a shirt. Nothing fancy. Nothing dramatic. Just a shirt. But fate, as we know, doesn’t care much for shopping lists.
Moments later, he’s running—arms flapping, eyes wide, suit creased—as a small plane descends over the rooftops. A pensioner drops her ice cream—a dog barks. Children scream with delight. It is unclear whether they’re watching street theatre, a film shoot, or reality itself taking an odd turn.
And yet… there’s something strangely familiar about it all. The posture. The panic. The perfect part in his hair. Have we not seen this man before—racing for his life across a dusty field in Hitchcock’s North by Northwest?
Or as we called it here in Sweden, ’I sista minuten’ (At the Last Minute). A far more fitting title. Because he is, without doubt, out of time.
“Roger’s Errand
Roger stepped out in the afternoon light,
Just for a shirt — nothing wild, nothing bright.
No secrets, no spies, no need to rehearse,
Just modern sleeves with a twist in reverse.
But fate had prepared him a thrilling cliché:
He whistled, turned left, and was snatched right away.
“George Kaplan!” they cried, though he said, “Not quite!”
They tied him up anyway—polite, but not right.
He leapt from a window, was chased through a square,
And was nearly run over by nuns at a fair.
A plane tried to kill him out under the sun,
And still he kept asking, “But why must I run?”
On a train bound for nowhere (or maybe just west),
He met Eve Kendall, suave, sharp, and well-dressed.
She whispered sweet nothings, she lied with such grace,
That poor Roger melted—his heart out of place.
She fed him with secrets, with bourbon, and steak,
While casually plotting what agent to break.
Yet love (or confusion) began to ignite—
He followed her straight to Mount Rushmore by night.
They hung off a nostril, they clung to a brow,
While chaos exploded around them, somehow.
And just as she slipped, the danger grew near—
He caught her and whispered, “I’ve switched to low gear.”
Then—cut!—and we’re suddenly deep in a train,
Where Eve takes control with no hint of refrain.
She presses him back with a look and a grin,
And Roger? He blushes… then gives right in.
Later, Roger, at home, makes lunches with flair,
He irons his shirts and conditions his hair.
He vacuums, he folds, he packs daycare bags,
While Eve holds a TED talk and flies business class.
She’s briefing the UN while he checks for lice—
And frankly, dear reader, he finds it quite nice.”
Malmö May 2025
Last Minute – 4 PM Happy Hour
Why the hurry? And haven’t I seen this picture before? Isn’t that the successful advertising executive, Roger Thornhill, running for his life from the plane above? That’s how it looked in the film I sista minuten, as it was called in Sweden. Its original title was North by Northwest, which makes no sense in southwestern Sweden, where Södra Förstadsgatan and Malmö are located.
Roger, played by the ultimate charmer Cary Grant, is mistakenly kidnapped by a spy ring that believes he’s a counteragent named George Kaplan. Roger manages to escape, but he soon finds himself pursued by both the spies and the police, who think he’s a murderer. Kaplan, of course, is a fictitious persona created by the CIA to throw enemies off track. Roger follows that trail, and on the train to Chicago, he meets the beautiful and mysterious Eve Kendall, who offers to help him. Her appearance is a delight not just to Roger but to the male audience as well, but who is she? Eve turns out to have ties to the spies. But whose side is she on? And is she playing both?
Read on if you want to know. Otherwise, close your eyes for the following paragraph.
North by Northwest (I sista minuten) is a classic thriller directed by Alfred Hitchcock in 1959, often hailed as one of the greatest spy films ever made. It’s a suspenseful, stylish, and at times ironically funny tale of mistaken identity, pursuit, and a crescendo played out across some of America’s most iconic landscapes. The title North by Northwest, a nonsensical expression that perfectly fits the film’s theme of disorientation and confusion, adds an intriguing layer of irony and suspense, leaving the audience curious and engaged. More on that poetic twist later.
The film is renowned for several unforgettable scenes: the crop-duster attack in the empty field, where Thornhill is hunted by a low-flying plane. This image bears a curious resemblance to what happened on Södra Förstadsgatan that sunny summer afternoon. Then there is the Mount Rushmore climax, a scene that has become iconic in cinema history, where the final confrontation unfolds quite literally across the faces of dead American presidents, with danger hanging—quite literally—by a thread. These scenes, etched in the memories of film enthusiasts, continue to inspire and influence the cinematic world, a testament to the film's enduring impact.
This film laid the groundwork for future Bond movies: charming heroes, femme fatales, gadgets, exotic travel, and villainous masterminds. Its themes are classic Hitchcock: mistaken identity—the everyman innocently drawn into a conspiracy; surveillance and manipulation—Thornhill is constantly being watched and misled. Does that sound familiar? The film's influence on the Bond franchise is undeniable and continues to inspire and influence the cinematic world. And let us not forget the blend of espionage and erotic tension, a unique and captivating aspect of the film, especially in the scenes between Roger and Eve.
So, how does it all end?
Surprisingly well, actually. Roger and Eve end up together—but only after deceiving one another, being betrayed, nearly getting killed, and scrambling across the granite faces of American presidents. In the final act, Eve is revealed to be a secret agent who had infiltrated the villain’s inner circle, placing herself in mortal danger. Roger risks everything to save her, and the showdown occurs on Mount Rushmore. As Eve begins to fall from the monument, Roger grabs her hand. In one of Hitchcock’s most elegant transitions, we cut from him pulling her up to pulling her into a train compartment bed—now his wife. The satisfying and fulfilling ending leaves the audience with a sense of closure and contentment.
The final scene is classic Hitchcock: ironic, sensual, and sleek. It is implied that the couple are either married or soon to be—and as the train rushes into a tunnel, we’re given a famous symbolic shot of their passionate union. Because, well… that’s how it is.
A female friend once said, “Never put off till tomorrow what your man can do today.” What he thinks about that, I don’t know—I haven’t asked. But I can guess. He probably belongs to the category of henpecked heroes, all macho with the lads. And let’s be clear: Roger didn’t seal the deal. It was Eve who pushed him down onto the bed. He may have been a successful ad man, but she would ensure he became a handsome husband and cared for her and all the children they’d someday have. At the very least, he’ll take care of his share of their life together—doing the dishes, cleaning, ironing his shirts, dropping off and picking up the kids from daycare, being generally handy and thoughtful.
Of course, that part isn’t in the film—it’s something the cinema audience is left to fantasise about. If Roger really is that dream prince.
But back to the title. Why did Hitchcock choose North by Northwest?
Much has been discussed, but here are a few plausible reasons. It could be a linguistic joke—Hitchcock adored ambiguous and “wrong” titles. North by Northwest suggests being lost, heading in a direction that doesn’t quite exist. It may also be a Shakespeare reference—in Hamlet, the prince states: “I am but mad north-north-west. When the wind is southerly, I know a hawk from a handsaw.” This line speaks of feigning madness while fully aware of one’s surroundings, much like Roger in the film.
Alternatively, it may be pure symbolism. The protagonist moves literally and figuratively in the wrong direction throughout—a man pulled northward through misidentification and chase—but always in ways that defy logic.
Still, they ended up together in the end, despite everything.
And never forget: it’s always the woman who chooses.
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