I’ve always loved stories, when I was little I used to force mum and dad to pay for books every week via a Book Club magazine. It is probably still the most wonderful thing I know, to open a package with literature in it.

Alongside this, I have also always drawn and drawn and as an artist I mainly use pen and paper. It’s perhaps the most basic, but there’s also a simplicity to it that I’m stuck with. I am satisfied by succeeding in translating a certain feeling, a certain thought or a curiosity in the image I create, just through these simple means.

Somewhere in my twenties, I started to draw by composing one motif with another to build my drawings. The pictures I made, which at first were really only in unconsciousness and out of pure curiosity about what the subjects would say together, turned out to be a good way to also examine my subconscious.

If I put together one subject with another and then stepped back to look at it, I could discern a lot of destructiveness, vulnerability, and that I often illustrate some kind of power dynamic. Many times the animals and humans are allowed to form the dynamic of the image and it is probably the drama and the tension that I want, but there are also elements of my complicated relationship to humans as a species versus the animal kingdom, a pessimism that has stuck with me since I was a child.