As of a while ago, Øyvind found himself neck-deep in a quagmire of indecisiveness; a shit-pit that, in hindsight, might have nurtured the rise of his now insisting, hasty, and somewhat pathetic, decisiveness. This newfound sureness is not unlike the sort spawned within any type of subcultural group, who has seen through it all, and is certain their lives are lived well beyond the influential reach of the mainstream establishment. Speaking of the subcultural: Øyvind assumes his God given right to have a crack at isolated phenomena found within some subcultures. That these phenomena have had moderate-to-considerable influence on his works is-to say the least-noticeable-to-undisputable. But, if one is to look past this evident source of inspiration, and his works' simple ideas and concepts, there are greater depths to Øyvind's oeuvre. For one, an interest in the film- and video-medium, and the fucken conventions imposed on it, i.e. language and genres.

Furthermore, Øyvind's art-existential being has bipolar tendencies; on one hand is he investigating hedonistic, self-righteous, and masculine figures and phenomena-on the other hand-has he, the past eleven years, spent a substantial part of his capacity exploring and creating in another dimension than the physical: in The Astral Plane. Projecting into The Astral brings about an existential upheaval, because there one exists without a physical body-and with no physical body-no hedonistic, self-righteous, or masculine ideas. So, Øyvind finds himself torn in the contradiction between his investigation of self-congratulatory culture, and the investigation of a dimension where pure intuition reigns, and cultural, physical, lingual and intellectual limitations, does not.


"Stilleben I" (Endlösung), Installation with sound, Øyvind Aspen og Mercedes Mühleisen, 2011


Filmstill from Manboy (09m 10s), Øyvind Aspen, 2011


Filmstill from Black Car (08m 45s), Øyvind Aspen


Videostill from Stokke(57m 45s), Øyvind Aspen