![]() ![]() Everything went so fast, that I started drawing smaller and smaller in my sketchbook. ![]() Loads of new information and much bigger demands of the students than I was used to. It was noisy, busy and the level of ambition was very high. We weren’t allowed to say anything about our pictures, which taught us what we were communicating to the world with our images alone.Īrriving in New York was overwhelming. The school was perfect for me, it focused on photographing what is true, rather than the technical aspect. So, I decided to quit my job and went to Denmark. Then I found Fatamorgana, The Danish School of Art Photography in Copenhagen online, and on their website, read that the students were encouraged to photograph “from the stomach.” I was amazed to read this and also to see the pictures students took. I soon started wondering if photography was something that one could study. I was more attracted to the theatrical universe, the creation of the stage environment, costumes, light, etc.Īfter high school, I didn’t know what career to choose, and in my search found a small red camera that I got from my father when I was a kid. In high school, I studied theatre, but never found myself on stage. I grew up in Oslo, surrounded by musical family members. We spoke to Sara about her practice, her time in New York, and the Scandinavian art scene: Can you tell me about yourself and how you got into photographing? According to the artist she never sees her work as final or finished: by re-using and re-editing her photographs, she is presenting her work as a bigger process itself. ![]() Sara’s diaries are private observations, one person’s investigation of the secrets of life. She says these realities do not always correspond, but the friction is what sparks her interest. She often finds herself in between two worlds: one that is seen, that can be photographed and documented another which is unseen, where it is only possible to react mentally or emotionally. What do emotions look like? Can they be captured, can they be drawn or written? How does one give life to the invisible and how can something metaphoric become existent? There is no definitive answer to these questions but the constant search for them is what makes Teigen’s work mystic and unexpected. She is attracted to things like micro/macro-cosmos and human emotions, intangible things without a physical form. By mixing mediums, cutting out fragments, manipulating images, and using herself as both subject and object, Sara tries to uncover the invisible world around her. Her main interest lies in understanding how nature behaves and how human nature works. Oslo-based artist Sara Skorgan Teigen constantly searches for answers in life. ![]()
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