Growing up in Denmark, many things felt very controlled. Throughout my life, I have repeatedly sought spaces to experience a loss of control. Many of my early performances were, at the very least, attempts to find choreography that could not be fully controlled.

At Paris Internationale, I performed a piece where I fell down the stairs of a six-story building. There was something about the free fall – the body is difficult to choreograph or control. It was extremely inspiring and became a starting point for many later works.

Yes, chaos is challenging because I always work with contrasts. Chaos alone is not interesting. But it has a potential that I greatly enjoy. In our highly controlled society, chaos can harbor potential – things we do not yet know. To develop new ideas, we must experience new things, feel new things, and chaos can make that possible.

I’m not interested in beauty. If something is only beautiful, it feels dead. I work with the complicated and the uncertain. When opposites collide – sweet and creepy, disgusting and beautiful – something interesting emerges. I love it when an image or idea is confusing, and that curiosity drives me. Subculture and pop culture collide in my work and create art from that tension.

I loved art school, but growing up, I had the idea of art as authentic and original – very romanticized. Society is complicated and ugly, and art should reflect that. Creating only something beautiful or authentic is neither safe nor interesting. My work attempts to understand the world better, including its problematic aspects.

Being overwhelmed is also chaotic. I see it as a reflection of how I experience society. We Millennials are the last generation to grow up before social media. Constantly seeing images and being an image yourself is complicated. I try to represent these gray areas between subculture, pop culture, capitalism, and their opposites.

It varies from place to place. I always try to create a sense of world-building. In my exhibition Flash in Denmark, one enters a large empty building with light, sound, and rotating disco ball sculptures. People – young and old – are overwhelmed by the stimuli and forget themselves for a moment. This transcendence is my goal.

Do something completely different instead of thinking about productivity. For me, that’s traveling or doing something else. Creative blocks are often linked to pressure – and then the best way is simply to step away from it.

Yes, perhaps because we just talked about productivity: doing things that have no function in terms of productivity. Escapism, for example. It often has a negative connotation, but I find it extremely important – daydreaming, fantasies. We shouldn’t be afraid to give ourselves more space for that.

Performance art. Totally. Always.

Definitely being less online. At the moment, I spend too much time on my phone, but I’m trying to reduce it.

I often think about it, also in connection with embarrassing moments. Things I used to find embarrassing as a teenager are now fun. My goal is to be less afraid of what feels embarrassing. I want to go even further in this direction. When I started studying art, I experimented more. Later, when works are shown in institutions, much becomes more formal. I want to avoid becoming too institutionalized myself.

Probably not for a while. But on Monday, I’m going to Italy to work with marble for three months. I haven’t planned anything, no concrete ideas – and maybe that’s exactly the point. Since graduating three years ago, I’ve been constantly on the move – exhibitions, travel, work. Now I want to consciously avoid planning to be able to react spontaneously.