I make and print from Atelier Kalle Hellzén just outside Stockholm where the making and the printing happen in the same room. Here I have room for my experiments with pigment, paper, and light before they reach anyone else's space.

I am red-green colourblind, diagnosed in first grade. I navigate through light and contrast rather than representation. Where a colour-accurate eye trusts subtle hues, I lean on intensity, structure, and friction. Instead of replicating a world described by others, I create what I feel. I've given up on chromatic accuracy and think of it more as energy: how light meets surface meets us, and how that relationship bends perception and our experience of life.

This is the method I call chromatic pressure. It runs from physical pigment through generative and digital systems and back to paper, often carrying fragments of my earlier work into each new loop. Those fragments are living material. Each pass adds accident and clarity. A tool sits inside that loop, never at the head of it. I begin from my own creations, paintings, photographs, scraps and sketches, other times from a series of macro photography of pigments under load. I then return to a material print. The work that leaves the atelier is a painting, a giclée print, a transfer, or a modular object, mostly signed by my hand, and on the open editions my signature is carried in the print itself.

I look for beauty in the unstable, the broken, and the living. The work holds tenderness and force in the same space: melancholy dipped in sunshine, warmth that does not erase the bruise.