Born September 12, 1954 in Klockrike, Sweden. Grew up in Märsta just north of Stock-holm. Been living in Uppsala for 35 years and since 10 years back, now living in Gävle.
Studied at Lund University and Stockholm University, graduated in law at Uppsala Univer-sity. Worked for the past 30 years in various managerial positions within universities as well as in municipal and private operations. The interest in culture has been around since my childhood. My father was an initiated collector of mainly fine clocks and exclusive glassware. Through my father I was surrounded by history and beautiful things. My mother was politically engaged, why politics often discussed at home. The urge to express myself with my hands has been a reality since the early childhood. However, I considered not able to draw or paint and have therefore never tried. Instead, I have enjoyed the art of others and tried to support those who can. In connection with a managerial assignment, I spent a night in a hotel and as usual I was browsing for art online. An artist, Peter Sköld, Artistlab, Stockholm, who offered distance education, showed up. I sent him an email ex-plaining that I never drawn, never painted, but wanted to. He thought we should give it a try. We started from the very beginning – “take a piece of paper, buy a brush and some nice colors”. And so I did. After recent breast cancer treatment, advanced glaucoma in one eye, and entering life as retired, I can now devote myself to painting. Although my "studio" is only a few square meters, my technique improves and I become clearer to my-self in what I find interesting and intruiging in painting. As I worked my entire life dealing with difficult issues concerning people, I am fascinated by the way we conduct ourselves, inwards och outwards. Difficult issues has it´s own dynamic and is worth examining fur-ther. In art as in real life. When the subject is "wrong", the substrate is "wrong", the me-dium is "wrong" and the technique is "wrong" - what happens then? How far can I go without falling into my own prejudices about what is "right"? When do my own limitations apply? How do these express themselves and what happens when I learn new things and get past them? These questions drive me. In ordinary life as well as in painting. Lines, shapes, color, composition and texture are important elements, but the Process, the inter-action between my hands, brain and all that am me - THAT is the creation. I am part of the creative process but perhaps the most fascinating of all is that the viewer becomes part of the creation. It drives me in painting as well as in ordinary life. Like the child, I can put what is most important to me in center and reduce what I do not find interesting. I can be-come obsessed with calculating angles and shapes without bothering about the interac-tion between them. I sometimes want to abstract until it remains only for the viewer to put their meaning into the picture. I find it interesting to "ruin" an picture in order to chal-lenge myself and see what became instead. The courage and the strength to dare and to get through is central to me. Not being labeled, being genuine. I want to contribute even if the subject is difficult or inaccessible. Finding a solution and contributing to something that is difficult. This drives me forward. Influencers are of course many many. I love Diebenkorn, Rothko, Morris Louis, Kandinsky, Picasso.I paint in acrylic, oi, watercolor, markers, ink, coal.I love to work in sand on canvas to make a “between” sculpture and pic-ture. I also enjoy working in ink on a hard, not absorbent surface. The technique is diffi-cult, but it makes interesting effects. In that technique I have created my changelings, my crossovers, often a butterfly with a human twist.