If we trusted our psyches, we would understand that the line between the past and the present, the near and the far, the living and the dead, does not exist. We wouldunderstand that one does not ask time what time it is. The series Carriers is rooted in a desire to uncover memories inherited, but never lived. It unfolds through the exploration of the clandestine devices of the darkroom and found press photographs of the Iranian revolution and its aftermath. Carriers testify to absence and presence, disappearance and memories of what once was but is now irretrievably lost.

Plastic Can Never Wither is a photo series that explores the relationship between the Southeast & East Asian diaspora and Sweden. In 2023, Louise Sinaga Helmfrid began a project inspired by the first Asian character she saw on Swedish television, ”Nena” in Jägarna (1996). This led her to begin investigating how and in what forms the diaspora is seen in Sweden. In a lack of interest in reporting on misrepresentation, a desire was born instead to create an archive of real stories.

The title is a tribute to the plastic flowers, which culturally connect Asia and are in many cases perceived as “cheap”, but in the same way as archives – are forever.

The people in the portraits are all there because they have a special place in the legacy we leave behind. Without Tobias Hübinette, for example, we might not have had the language to talk about ethnicity and race in Sweden in the way we can today. Without Maria Jisoo Edman and Henrik Erngren Othén, fewer people would have hoped to be reunited with their siblings and meet in the incredible after-separation that adoption entails. But it doesn't end there, I expect the portraits to grow. Let this exhibit serve as a reminder that plastic can never wither

The most recent work in progress, a series of photographs named “A Brief Distress”, is a continuation of a larger body of work addressing uncertainty, progress and change.The process behind the creation of these images is tightly connected to the fragile materiality present in my current practice. Sand as a fluid, yet solid material has been photographed during the phase of change. Almost behaving as a liquid, continuously mutating, the fine sand turns into another form when photographed. Photography becomes an observer, a disturbance of the observed changing abstract landscape.The works are produced using UV relief printing technique - the photographs gain a third, sculptural dimension because of the structured surface. Works act as an attempt of reconstruction: of the materiality of sand; and of the ungraspable changing realm of the photographed.

As the Crow Flies is an interdisciplinary project that explores memory, shifting identities and migration. Taking inspiration from the phrase "as the crow flies” which describes the shortest distance between two points, the project reflects on the emotional and temporal distances that shape our understanding of home. It is an ever-evolving work, continuously changing form depending on its context, expanding and contracting from large sculptural pieces to postcard-sized works.

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I explore the fragmented nature of memory, where complexity of emotions coexist. I experiment with photography, painting, textiles, and sound to create a shifting, immersive space that reflects how moving in-between places reshapes personal histories. The work unfolds in layered, non-linear storytelling, evoking the way memories surface as flashes, vivid yet fleeting, personal yet universal.

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As the Crow Flies features over 200 soft photographic sculptures, created through my self-developed image transfer technique that merges photography, painting, and industrial materials. These sculptural works contrast fragility and permanence, inviting a navigation between tactile and visual elements. As I begin incorporating sound and language into the project, a soundscape of spoken words in Norwegian threads through the installation, adding a layer of distance and translation that echoes the evolving nature of memory and identity.

‍By continuously testing new processes and deconstructing conventional material uses, I transform various materials and forms into vessels for memory. As the Crow Flies extends my exploration of materiality and interdisciplinary narratives, adapting to different spaces and formats as it continues to take on new forms.