Please note that the final order is yet to be decided.

Slow Tan is an exploration of primitive concepts of nature, and the Grauballeman’s monologue on gradually turning into leather.

Black Sabbath. A pictorial interpretation of Black Sabbath, the song, by Black Sabbath, the band. The visuals are especially based on the evocative intro and the thundering first chords.

Cerebration is a tribute to the advantages of emotion over rationality; about feeding the brain with love on wings.

eROTic FUNeral will be a computer font made up of original comic panels. The panels are ordered by phone (vowels and consonants), case, and class (numbers and typographic signs) to ensure some structure in wahtever the font is applied to. It is an experiment that should expand on montage techniques, and to make it a bit easier on the reader, the visuals are more conventionally ‘comicky’ than the rest of Astoria.

Great Old Ones visualizes difference in views by comparing three certified quacks: Skeptic scholar Charles Fort, astro-theologist Erich von Däniken and pulp writer HP Lovecraft. Edward Tufte’s theories on information graphics are a particular influence on the visuals.

Ariadne imagines, by way of the Minotaurus legend and Minoic culture, a pre-literal society where linear thinking has not been indoctrined through writing. Elements of Minoan art and of proto-alphabetic, logographic systems are dragged along for the ride.

Our Lady of Centuries is built on the writings of Nostradamus, although no attempt is made at actually interpreting their ‘prophetic’ meaning. Instead I use the author’s lead motives and colour indications as basic elements in concrete gatefold compositions that also make use of non-figurative typography.

Passion is an associative chain(mail) on the concept of ‘tree of life’, spanning a range of imagery from the crucifixion to female cycle, all perpetrated in the style of IKEA instructional sheets.

Politics is a rehearsal in minimal narrative. On one level we have ultraclose studies of textures and light, laying down a tectonic time frame for more ephemeral (superimposed) elelments, the ‘politics’ of the title.

Resistansen is another cover song, in this case a waltz by Norwegian Kaizer’s Orchestra. I translate the lurching beat into negative shapes that cut into the mis-en-page, thereby manipulating the static page format. In contrast to the adaptation of Black Sabbath, I take cues from the song lyrics.

These Fjell Veins renders the condensed animosity that signifies (specifically Norwegian) black metal, a musical genre that deliberately exudes disharmony and antagonism as a form of expression. This is visually executed with an exaggerated dynamic, manga-inspired layout, intentionally dense storytelling, among other things.

Trickle, Wash, Flood unites three very different visual styles to tell three different takes on the connection between death and birth, in parallel, fragmented.