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The artist's work during his studies at the Oslo National Academy of the Arts (KHiO) focused on expanding space as a hub for echoing his practices in painting and drawing. Images, graphics, and wall paintings became timeline markers in a more complex, expanded painting environment. The canvas was the core of his artistic expression, but he shortly transitioned into incorporating different mediums directly onto floors, ceilings, and walls. Old and new works, digital and physical, merged in a mashup or reconstruction-style installations.

The artist drew visual and contextual inspiration from trash aesthetics and bad painting resurfacing at the time. His subject aimed to convey facade and egocentrism by illuminating physical and psychological distancing. He incorporated video performances, found objects, art materials like stacked canvases and spray cans, sculptures, and painted building structures, i.e., pillars, into his work.

In later installations, the artist aimed to translate opposing contexts and raise visitors' awareness by adding tactile layers, opening up parallel channels of interpretation, segmentation, and discrimination based on sensory choice. For example, in a solo exhibition titled "Pacesetter" in Gallery 21:24, Oslo, he constructed a hanging white box with words from the braille writing system and minimal wall painting. The terms dropped onto the wooden box referred to the consequences of conflict and the concept of unity that springs out from disruption. The wall painting was a deconstruction of the Italian PACE flag that became a universal symbol of peace and solidarity, and that hung from millions of homes and workplaces all over Italy (and beyond) before the war against Iraq. The separated lines of colors were associated with a fragmented state of liberation.

Towards the end of his MA degree, the artist worked on noise reduction and minimalism aspects. This direction was a breakout from the many installations that commented on the institutionalization of the art scene. Bringing the focus back to the body, he introduced simplistic but symbolically charged elements, such as plants, oils, and other organic materials. He revisited traditional figurative expressions and added anatomical drawings to his installations. His graduate exhibition presented a structure of illustrations of scattered limbs floating on the ground. Inspired by Goya's Los desastres de la Guerra, it represented latent senseless violence, though not pointing to or commenting on external events or processes.