The research and visual works delve into the significance of the moon in Chinese culture and my personal life. By exploring both cultural and personal perspectives, I aim to create a multi-layered representation of the moon's meaning that resonates with the audience, regardless of their cultural background.

Noise turns into form in the intertwining the and dissolving of shapes and lines. In the paintings, the idea of what is seen is interrupted by the noise. I look for camouflage in paintings. In the space between the brushstrokes, where rhe colors merge and vibrateag ainst each other. In this noise, a sonorous embodiment begins to reveal itself, a constructed nature that strives for beauty by taming the landscape. The fulfillment of our desires leads us to a streilized park, a pleasant place in the search for the arranged. I try to depict what has already been made beautiful, with, the aim of capturing more than just what is visible on the surface. The aspiration toward nature is reformulated as a dystopian ambition grasping for the beautiful in the veil of the unreal.

This is an independent project which investigatesthe environmental impacts of virtual tourism and tourism overall, and what virtual tours can do for tourism as a whole. Through this project, I made a video which discusses the benefits and drawbacks of virtual tourism in relation to a place like Norway, a rich country witha popular iconic bird known as the puffin. In my video, I present the research that I gathered and through the help of my collaborators, showcase the alternative andvirtual way we can experience countries.

Självbiografisk arbete, betraktelse och berättelse  från Riddarhyttan i Bergslagen. En liten by i skogen inklämd mellan två sedan länge nedlagda gruvor där mina släktingar, från morfar/farfar och bakåt, arbetat med att bryta främst järnmalm. 1984, året jag föddes, så hade det gått 5 respektive 17 år sedan gruvan i Bäcka och gruvan i Källfallet, belägna på varsin ände av Riddarhyttan, lades ned.

Five letters in a row: E, L, I, N, A. The E has several more horizontal strokes than the E Iwill later learn in school, the N is reversed, and the A is upside down. It doesn’t matter. Ican read it, and others can, too. Once I learned how to write my name, I couldn’t stop. Iwrote it everywhere—on my toys and on my bed frame, on the walls, the doors, theledges. There is something visceral about leaving marks and traces of oneself on differentmaterials and surfaces. Pencil on raw wood, pen on paint, and waxy crayon on plastic.Speaking and writing are part of a collective knowledge that is based on complexstructures and technologies. Walls and screens are flat surfaces that we use fororientation and as sources of information. We navigate. Slowly we are shaped. I’mtouching, tracing, and marking. Leaving something of myself behind. A record. Anencounter and exchange between my hand, the tool, and the surface. The surface isforever marked, forever destroyed, forever scarred. ELINA.In this master essay, Elina Birkehag collects her notes and reflections during her years ofmaster studies at the Royal Institute of Art in Stockholm. The essay consists of two parts.The first is written in her studio during her final year of studies, the months before her soloexhibition MOUTH TO WALL at the end of 2022. The second part is a collection of notesfrom the forests and wetlands of Dalarna, as she has been looking for tree carvings leftthere by women tending cattle a few hundred years ago.

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Uppsatsen analyserar kameravinklar i förhållande till illustrationer som finns i ett onlinespel. Diskussion förs kring fyra bilder. Detta görs utifrån en bildanalys med inslag av semiotisk analys. Undersökningen kunde inte visa på om kameravinklar i sig själva kan uttrycka visuellt berättande eller ej. Dock visar studien att kameravinklar kan öka det visuella berättandet som en bild har. / The essay analyzes camera angles in relation to illustrations found in an online game. Discussion is conducted around four pictures. This is done on the basis of an image analysis with elements of semiotic analysis. The study could not show whether camera angles in themselves can express visual narrative or not. However, the study shows that camera angles can increase the visual narrative meaning of an image.

In this text I retell the story of a close friend of mine that went missing a few years ago. I also dive into world geographies and how they interconnect unexpectedly, for example through water.  In the Hindu scripture Shatapatha Brahmana, written between the 6th and 8th centuries BCE, one encounter scientific knowledge of geometry, observational astronomy, and many tales, where time is told in a cyclical, nonlinear way. The book recounts how the sweat dripping down the god Shiva’s head is the water of Ganges River, where the ashes of generations of deceased people travel along the currents like a miniature collection of the past. I depart from a lens-based practice to explore remains of traces of stories, contrasts between inherited cultures and gay love.  Through the migratory movement from India to Norway made by my father in the 80’s, the same period as the fathers of my Norwegian cousin’s migrated from, Algeria, Morocco, and Argentina. I came to know about the importance of the permanence as some of them stayed and influenced our cultural microcosmos of diaspora perspective. While some of them departed back again to their birth countries leaving mythical-like aura behind. From the get-go our shared upbringing in the Scandinavian landscape made us witness the ever-shifting kaleidoscope of our human existence and filling a gap between having two cultures. And a question to the difference between being of or having a minority background.  The artistic expression can be intricately intertwined with the nuanced language of gestures, transcending linguistic and cultural motifs. Through a local Indian newspaper shipped to my hometown in Norway ever since I was a child, arised a playful game of trying to understand and learn these symbols and cultural motifs.