Sound art


a meditation on freedom, 2021 -2022



I have approached the work process, from start to the end, as a meditation in itself. It has resulted in a series of varied works that explores aspects of freedom that might lead to a notion of freedom of objects. Each new piece is a version of the previous, as versioning is the working method. The versioning from the resonance boxes consisted of continuously reflecting upon the concept of freedom in general and what it might mean to consider an object free. What makes a sound free? The sound is based on its own internal properties but does it have elements of unpredictability and resistance of being controlled? If so, In what way does it show? I do not have any answers to these questions yet but if I attune myself to the sound and listen, maybe some answers will reveal themselves somewhere along the way.



Solar-powered sound installation, Bellevueparken, Stockholm 2021


the Guerrilla Setup: a meditation on freedom, 2019


Vanadislunden, Stockholm 2020


‘A meditation on freedom’ is included in the title of the work, and the aspect of freedom is central to the Guerrilla Setup. Freedom is applied to enhancing the ‘voice’ of an object, setting it free, letting it go so to speak. There is an emphasis on giving autonomy to sound objects. Listening also plays a key part in establishing “a meditation on freedom”. The music is in the act of listening, and the listening act is an attunement to our surroundings.



Hökarängen, Stockholm 2021



The electronics of each box are connected to an 8m lamp cord attached to the inside of the box. The cord has a regular switch and connects to a 12V motorcycle battery. Resonators are made to reinforce sound but are also able to change the quality of a tone. At a certain point, self-oscillation occurs.


Rumtiden 2019


Erase(r)head 1.0 , 2018

Sound Installation with hacked cassette decks. It is a test on how to expand David Tudors concept of an electroacoustic environment using elements of instrument, installation, and feedback to explore objects being for themselves. Instead of reading his work Rainforest IV within the framework of second-order cybernetics.

Royal College of Music, Stockholm 2018


sound memory, 2017

Premiere for Sol Andersson’s and David Granström’s new works for the sound art installation Compoz and the release event for ”Compoz – det ljudande rummet” – the first book published by Audiorama förlag!

An interactive sound piece was commissioned by Audiorama as a part of their Compoz project.
Players: 2–6 persons
Instructions: In this room, sounds are hidden. Two of each kind. Together they form a pair. There is a total of 16 sound pairs. Let the listening begin!
Duration: 5 – 20 min.
Photo: Bodil Bolstad


 Open Source Intelligence , 2014

Interactive installation and performance commissioned by Audiorama and Luger,
originally created for ‘Stockholm Music & Arts festival, 1-3 August 2014. In collaboration
with Johannes Ahlberg, Göran Sandström and Patrik Ohlsson.

The boundary between spectator and actor is becoming blurred. The roles have merged into each other, change places, and take turns. What I need is a digital medium to travel in and through. My life is not just one, my identity are many. We do not yet know how the constant monitoring and mapping affect us but what we do know is that it is one of the greatest revolutions in human history and old rules no longer apply. Knowledge has always been the strongest commodity, but today’s digital consumption has opened the gates for a perhaps less flattering market, where human values are negotiable by everyone, for everyone, at any time, and in public.


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