Des miroirs fêlés.

“Des miroirs fêlés”, un collage d’esquisses monotinte sépia à l’huile et au fusain sur toile, 50 x 50 cm, 2021.

Il peut être risqué de dire à certaines personnes que vous les aimez… vous pouvez risquer de les perdre, voire de vous perdre vous-même.

”COVID-19 — fini les bises à la pelle !”, oil on canvas, 60 x 50 cm., 2020, is a self-portrait of myself hesitating to kiss my own death skull, and is surrounded by a ring of blue roses. The blue roses symbolize the unattainable; here, an unfulfilled love-moment that is even too complicated to be described in words because our natural habit of performing the delicious bises à la pelle is abruptly stopped by the cold mental forewarning that “some doors should never be opened”. There is nothing to say, save perhaps “Oh, I almost forgot.” This is, indeed, a challenging conceptual and technical study and essay. The image of a person kissing a death skull is an age-old meme (if not a cliché). Here the twist is to play on the concept of The Picture of Dorian Gray, whereby the death skull is the mirrored image of my true Self — i.e. that part of me that always remains constant, regardless of the « accoutrements » of fashion, disposition, or aging. In the Age of COVID-19 a simple kiss on the cheek can become the shovel that digs our own grave… Indeed we must all face our own Death, with eyes open or shut. And yet Death finds meaning only against the background of Life, though measured in mere years or breaths. Just as Light has no significance without shadow or Darkness, we cannot live Life fully being afraid of Death. “On ne peut pas vivre en ayant peur de mourir … “
«Secundo fluctus» (Second Wave), 60 x 50 cm., oil on canvas, 2020. The theme of this self-portrait is the impossible dream that is never finally achieved — no matter how much success we or others may think we have achieved, the dissatisfaction is always there. That has been the plight of most artists throughout human history; and it is no less today — for artists, and for non-artists. The tremendous Saturn-influence enveloping us at this time insists upon the renewal of our dreams, our motives, our ways of seeing, acting, living … imposing a heavy reality check upon us all. It is not all negative from an overall perspective, but it takes a higher degree of ingenuity, creativity, and persistence in order to create the much-needed and long-overdue New Consciousness. This dark expressionist self-portrait entitled “Second Wave”, provides a subjective inside-looking-out acknowledgment of the present experience. The intention is to document the thick muddy gelé of fear + careful hopefulness that we are all enduring in this Winter of darkness. The observant viewer will note that the face is itself a mask, as is the masking Darkness.

Adam’s World — all about Adam, Anno 2022



ADAM DONALDSON POWELL (Norway) is a multilingual author, literary critic, and art photography critic; and a professional visual artist. He has published several literary books (including collections of poetry, short stories, and novellas, two science fiction novels, a biography, and a collection of essays) in the USA, Norway and India; as well as numerous works in international literary publications on several continents. He writes in English, Spanish, French and Norwegian. He has previously authored theatrical works performed onstage, and he has read his poetry at venues in New York City (USA), Oslo (Norway), Buenos Aires (Argentina), and Kathmandu (Nepal). His book “Gaytude” (co-authored with Albert Russo) won the 2009 National Indie Excellence Award in the category gay/lesbian non-fiction. Powell was also the winner of the Azsacra International Poetry Award in 2008, and the recipient of a Norwegian Foreign Ministry travel stipend for authors in 2005. Powell also took initiative to planning and organizing the “Words – one path to peace and understanding” international literary festival in Oslo, Norway in 2008. He has been an author under the Cyberwit label since 2005, and he has published 13 literary books since 1987.


“There are some people who feel that fiction should be easy to read, that it’s a popular medium that should communicate on a somewhat conversational wavelength. On the other hand, there are those who feel that fiction can be challenging … that it’s okay if a person needs to work a bit while reading …

“Much in the way that would-be civilized debates are polarized by extreme thinkers on either side, this debate has been made to seem like an either/or proposition, that the world has room for only one kind of fiction, and that the other kind should be banned …

“But while the polarizers have been going at it, there has existed a silent legion of readers, perhaps the majority of readers of literary fiction, who don’t mind a little of both.”
— Dave Eggers, foreword to David Foster Wallace, Infinite Jest

Dr. Santosh Kumar’s book on the poetry of Adam Donaldson Powell.

Read some excerpts from the book HERE!



Under the Shirttails of Albert Russo: an alternative biography, l’Aleph — Sweden, ISBN 978-91-7637-401-6, © Wisehouse 2017, Sweden.

Entre Nous et Eux: contes de fées pour adultes,, ISBN 978-93-85945-77-9, © 2017, India.

Jisei: death poems and daily reflections by a person with AIDS”,, ISBN 978-81-8253-403-2, © 2013, India.

The tunnel at the end of time” (co-written with Rick Davis and Azsacra Zarathustra),, ISBN 978-81-8253-160-4, © 2010, India.

Malerier og fotokunst, a short 38-page retrospective overview of some of Adam Donaldson Powell’s best known oil paintings and photographic art works”. Published by as a special limited and numbered full-color, soft cover edition (55 copies only), ISBN 978- 81-8253-154-3, India, © 2009.

GAYTUDE: a poetic journey around the world, co-authored together with Albert Russo 1[1], bilingual (French and English), gay poetry, 334 pages, Xlibris, ISBN 978-1-4363-6395-2, 2009, USA 6 [2].

2014: the life and adventures of an incarnated angel, 135 pages,, ISBN 978-81-8253-118-5, 2008, India.

Critical Essays, literary and photobook criticism by Adam Donaldson Powell and Dr. Santosh Kumar 2[3], 108 pages,, ISBN 978-81-8253-110-9, 2008, India.

Le Paradis (Paradise), 80 pages,, ISBN 978-81-8253-103-1, 2008, India. Inkluderer bilag med symboler fra Universelle Lysspråket, som opplevd av Laila Holand.

Rapture: endings of space and time (86 pages), Cyberwit,net, ISBN 978-81-8253-083-6, 2007, India.

Three-legged Waltz, (80 pages),, ISBN 81-8253-058-X, 2006, India.

Collected Poems and Stories, (175 pages),, ISBN 81-8253-028-8, 2005, India.

Arcana and other archetypes, (special limited edition – hardback collection of poetry), AIM Chapbooks ANS, 2001, Norway (now out-of-print).

Notes of a Madman, (hardback collection of poetry), Winston-Derek Publishers, Inc., 1987, ISBN 1-55523-054-7, USA (now out-of-print).

(Above photos of Adam taken in NYC when he was writing his first published book: “Notes of a Madman”)



And here is a quick recap/overview of my published books. For more information, please see the next pages of this blog.

This slideshow requires JavaScript.






“Death is creative, but not picky — she will claim us according to her time schedule and whims, regardless of cause of Death. Don’t obsess over Death. Live each moment as if it were your first and last.”
— Adam Donaldson Powell






My two latest published books:

This slideshow requires JavaScript.



This slideshow requires JavaScript.


“My ‘style’? I instinctively rebel against being conveniently labelled as ‘this, or that’; just as I rebel against the so-called ‘rules of painting’, or ‘rules of writing’ … or populistic black-and-white classifications such as ‘political correctness vs. incorrectness’ etc. Actually, it is the audacity of these concepts that annoys me. The need of others to classify me, my art, my writing … or anything, is surely an indication of their own egotism, insecurities, limitations and weaknesses. Alas, we live in a world of labels, ratings, and quality judgments based on popularity and price. The closest relevant generic style classifications of my own art might be perhaps ‘abstract’, ‘colour field’, ‘geometric’, ‘abstract expressionist’, ‘minimalist’ etc. But I always find my own ‘mix’ … with limitless variations. My art and writing are meant to be different and new; and pleasing, challenging and annoying — at the same time.”
— Adam Donaldson Powell

“Lockdown — Summer fun”, oil on canvas, 55 x 46 cm., 2020, is perhaps self-explanatory. This painting is a continuation of my self-portrait series, in which I explore different ways of seeing and presenting myself — with various styles and painting techniques.

“Masquerade: COVID-19”, oil on canvas, 46 x 55 cm., 2020, is self-explanatory at first glance. However, here I have left certain features slightly unfinished: the naked eyes, the disintegrating painted frame, etc.; this to suggest vulnerability and a sense of incompletion. COVID-19 presents the unanswerable questions of how effective we really are at masking fear of the unknown, and which “me” peers out from behind the superficial protective covering. This painting is a continuation of my self-portrait series, in which I explore different ways of seeing and presenting myself — with various styles and painting techniques.

“The making of a Replicant: Human Pod Project — developing embryos”, oil on canvas, 65 x90 cm., 2019. This challenging work — both conceptually and technically — is a commentary on biotechnology and the future of human design and reproduction.

Of Replicants and Humans

#biotechnology #scienceinart

“Summer Selfie”, oil on canvas, 50×50 cm., 2019. This intentionally “rough” speed painting — meant to mimic a quick selfie — was inspired by Van Gogh’s self-portraits of himself wearing a straw hat … and
by Picasso’s blue period paintings. I only used
two colors: blue and blue mixed with a bit of red.

“Forever blowing bubbles”, oil on canvas, 40 x 40 cm., 2019. Portrait is a subjective interpretation of Catherine (a.k.a. “Bubbles”).

“The Impossible Dream: impeaching and locking up ‘The Orange One’”,
65 x 90 cm., oil on canvas, 2019. Liberals, Democrats and even some Republicans and ex-Cabinet Members seem determined to fulfill their dream of capturing the sly POTUS in their cat-claws. But will they ever succeed in outsmarting the Donald?


“The XYZ-generations — in Troubled Times”

“X, Y and Z Generations … in Troubled Times”, is a series of three self-portraits, challenging the ways I see myself and the ways I wish others to see/experience me. Today’s challenges are many, and the successive generations barely have time for needed self-reflection in the face of the daily, fast-changing technological, climate and other challenges. In this painting I invite the viewer to face himself/herself in this world where faces and Art are often just another image.

I personally experience this painting as scary and uncomfortable. What I mean by saying that the painting is “scary” is that it confirms the dilemma that I face in today’s crazy World — an “unfinished symphony” that is essentially never to be totally understood.

There were never to be any figures totally painted because the pictures represent people/humanity/me in development and unraveling. The pic of me all dressed up in a fur coat is the “show guy” presenting himself to The World … (x-generation). The y-generation me with the green face is the creative and thinking me — absorbed in my own thoughts and ideas, but battling against those imposed upon me by living in The World. And the z-generation is me blocking out and hiding from The World, the mental bombardments of images, coined phrases, propaganda, advertisements, and the glaring and oppressive heatwaves and sunlight etc. That image is in the largest state of disintegration, the skin coloring depicting a body that is almost lifeless and the head partially covered by a veil of mourning. Of course, all of the images are (as is the Internet, Instagram, Facebook, Twitter, mainstream media and alternative media) manipulations — leaving out ears (i.e. really hearing and listening) and other details in order “to guide” the viewer into focusing upon the sunglasses, clothing and accessories (headlines) instead of seeing the person (content) inside … and we are consequently in a continuous struggle for self-marketing and esteem vs. incompletion and dissatisfaction with systems of ethics and values that both constrain and embrace us.

The painting is “The Scream” that was never really expressed outwardly. And the minimalistic pastel-colored background is the general environment of denial — “everything is normal” — that acts as a sedative, more than inspiration.

NB. See Urban Dictionary for definitions of Generations X Y and Z.

Vanishing Act, oil on canvas, 46 x 55 cm., 2020.


«Vanishing Act», 46 x 55 cm., oil on canvas, 2020, is a raw self-portrait about being careful what we wish for. While many would wish for the rapid disappearance of the CoronaVirus (COVID-19), it would presently seem more plausible that such reference be most applicable to the Fade-Out Star (R Coronae Borealis). In the upper left corner one can barely make out a vanishing star, consumed by the Darkness of Uncertainty — truly Hell in its most natural form. The raw background hints of that in many well-known paintings by Old Masters, but here there is a messy disharmony that is threatening to consume the figure in the painting and the viewer — like an unavoidable train wreck … in slow motion. There are many important lessons yet to be learned from the COVID-19 experience. It is karmic, and in that understanding lies a solace that enables us to adapt to both life during struggle … and to the inevitability of Death. The figure — itself already vanishing behind protective gear — is waist-deep in the mire, but is yet optimistic — if not aloof to the dangers of chance and folly. The true challenge is perhaps not how quickly or how completely we can return to normality, but whether the former normality is actually the problem itself.


« Fluorescent Buddha », 65 x 90 cm., oil on canvas. This painting is designed for meditation on peace and healing.

“Rothko gone rogue”, oil on canvas, 65x90cm., 2019 is another of my explorations of the exciting, and over-copied, Rothko-style — here limiting myself to usage of the three primary colors (red, blue and yellow) together with scratching in order to finds new approaches to the study at hand. It is easy to think that the prolific and obsessed Rothko executed absolutely every possible color combination and variation on his main themes. But did he, actually? By the way, don’t miss the two figures rowing in the boat in the blue section of this colorfield painting. The scratching blue waves which overflow across the red background are then perhaps perfectly understandable.

“Burbujas — Fiesta en Málaga”, oil on canvas, 65×90 cm., 2019. This crazy work attempts to unite my passions for colorfield exploration and abstract geometric expressionism. There were many technical challenges involved as well as brush technical acrobatics. I always say that I will never again subject myself to paintings circles but I cannot resist the challenge … or the magic of the Circle.

Winds of Hell, 65 x 90 cm., oil on canvas.

“Les vents de l’Enfer”, 65 x 90 cm., Huile sur toile; basé sur les six faces par lesquelles nous percevons la mort —
La mort en tant qu’ennemi,
La mort en tant qu’étranger,
La mort en tant qu’ami,
La mort en tant que mère,
La mort en tant que voleur et
La mort en tant qu’amant.


Writing about Death is not foreign to me, but I have only approached the theme once before in my paintings. Thus, I have made a new painting about Death (which for we who survive others becomes a personal Hell for a time). And regardless of how we see Death, the Hell of loss is still there gnawing away at us … underneath the masks we put on to shield ourselves and others in our grief.


Here is my previous painting about Death:

Soul evacuation, oil on canvas, 100x150x8 cm.

“In the thicket”, 40×50 cm., Adam Donaldson Powell, 2019: This painting is another oil painting with a “watercolour effect”, attempting to counteract the solidity of classical landscape paintings with an abstract lightness using various brush techniques and colour combinations to allow the focus of the viewer to simply allow oneself to “walk right into the background and become enveloped by it”. There is no central or overbearing motive … just the experience of being here now. #Naturalistic colourfield

Reflection: “Some misunderstand me when I emphatically rebel against categorization and pigeon-holing, and against being expected to paint and write in the same styles and genres forever … or to slavishly follow ‘the rules of writing, or painting.’ What I intend to communicate is the constant importance of being original and new-thinking. However, knowledge of historically significant styles, techniques and art movements is fairly (in today’s art world) vital to knowing what innovations one wishes to explore … and why. You do not need to ‘master’ old styles and techniques in order to paint or write in your own new style, but understanding of them technically and in social/art historical contexts will make your new works much more dynamic and powerful. Art involves constant decision-making — and in order to make decisions we need to have some rudimentary understanding of art history in technical and social contexts. This includes creating ‘art’ from accidents.” — Adam Donaldson Powell

“Toltec Archetype”, 65×90 cm., oil on canvas, is an exploration of the shamanic/primitive roots of Jackson Pollock’s “Dripping/action painting”. The painting is both “in your face” and subdued by the jungle green splattering which — although hiding the image through the forgetfulness of Time — is not quite powerful enough to prevent the haunting Spirit of the archetype from invading our Consciousness.

“Tribute to Mars: The Great Source and Center”, oil on canvas, 50 x 50 cm.


La mia svizzera.
«La mia Svizzera», 65×90 cm., oil on canvas, 2018. This abstract geometric painting is based on my travels around Switzerland in 2018 — visiting lakes, mountains, cities and countryside.


I am accomplished and recognized in many areas, including art, literature, performing arts and activism. My life as an activist: my activism began when I was a teenager in USA — as a strong opponent to the war in Vietnam and a conscientious objector to the draft. I was even thrown out of the courtroom of Judge Julius Hoffman (of the Chicago Seven case fame) for misbehavior.
Since then I have engaged myself in the rights of several social groups including the homeless, gays, artists, immigrants and persons with AIDS. I have represented Norway internationally and at the UN in NYC, I have debated with several government ministers in Norway on tv, radio, newspapers, delivered public speeches, and started organizations to preserve and secure the rights of artists and of unemployed immigrants. While I am now retired from activism, I am proud of my almost fifty years of public service as an activist — complemented by my literary and artistic works in support of these issues. I started and ran the organization Artists in Motion (for artists of all artistic disciplines in Norway) and the Norwegian World AIDS Day Art Exhibitions, among other initiatives. I have made notable and documented contributions in Norway and internationally through debates and speeches, music (I studied piano under several renowned concert pianists in NYC), theater and dance stage performances, art exhibitions, publications, literary engagements on four continents, and more. You will no longer find me on Facebook, Twitter, English Wikipedia (Norwegian Wikipedia, yes) etc. I have pulled out of several accounts on all (and also two previous Instagram profiles) despite having maximum « friends/followers ». I prefer space to be myself, and to set my own artistic, literary and socio-political agendas. I market my ideas more than my art and my literature. My art and my literature are representations of my philosophies, my ideas and my politics about Life, the world, art and literature. My art is found in several countries, and my fourteen published books (in all major genres) are written in several languages and published on three continents.

«Le regard … dedans / dehors», 65×90 cm., oil on canvas. Study of integrating several abstract disciplines and techniques, including underpainting, hard edge vs. free hand, figurative plus geometric, Picasso’s earth colours etc., model: Richard Mathews (NYC). «Le regard … dedans / dehors» is about how we see ourselves vs. how we think the world does (and how we want the world to) see us. The scaly/primal-reptilian background is reversible — serving both as a covering as well as revealing our inside moving texture. When I suggest that the reptile scales are reversible I am talking about the dual functions of the skin as a protective facade which enables us to find protection but blending into our environment AND serving as a tight “diving suit” which makes our explorations easier. I find the exercise of changing skin colour and ethnicity of the paintings featuring my models to be liberating — an artistic commentary on the universality of Man. My triptych on Robert Mapplethorpe taught me this. I realized that the color scheme for this painting had to be with Picasso earth colors (from his beginning Cubist period – similar to the work of Braque). All other colors would potentially draw away from the balance which allows the portrait to remain a main focus and still tell the story of “the process” of being oneself in personal and social environments which are constantly changing and challenging us. It has to be both finite and also a blurred portrait image in a blurred background, giving a “near-sightedness ” feeling — at the same time; because that is how we experience ourselves and our surroundings, and are experienced by others. The geometric areas all have bright colors as underpainting so that the black and grey forms are not flat and lifeless, even though intentionally two-dimensional. The illusion of depth comes from the layering of forms — both underneath and over one another. This was an interesting challenge for me. I even forced myself to allow a few graphite sketch lines to remain unpainted — something I have always wanted to try.




“Model”: Tor (in memoriam).

“Visit from a dead lover”, 50×50 cm., oil on canvas, is an abstract expressionist portrait of my deceased life partner. It captures in general, however, the pictorial and other-worldly essence of such visits from the departed, as both the living and the no-longer alive peer through the veils of energy, space and time to re-connect for a few precious minutes.


« What is the importance of attention to background in painting? Ha! The concept of background as a separate entity is an illusion — even in minimalistic art it is both an important protagonist on the stage, as well as the cast of supporting actors. Context Baby … context defines the entire painting. »
— Adam Donaldson Powell

ADAM DONALDSON POWELL (Norway) is a multilingual author, literary critic, and art photography critic; and a professional visual artist. My ‘style’? I react to being conveniently labelled as ‘this, or that’ as vehemently as I rebel against the so-called ‘rules of painting’, or ‘rules of writing’ … or ‘political correctness’ etc. Actually, it is the audacity of these concepts that annoys me. The need for others to classify me, my art, my writing … or anything, is surely an indication of their own egotism, insecurities, limitations and weaknesses. The closest relevant generic style classifications might be perhaps ‘abstract’, ‘colour field’, ‘geometric’, ‘abstract expressionist’, ‘minimalist’ etc. But I always find my own ‘mix’ … with limitless variations. My art and writing are meant to be different and new; and pleasing, challenging and annoying — at the same time. I have resided several places in the USA, as well as in Spain and (currently) in Norway. My art often addresses cultural, political, social and spiritual issues relevant to our day and age.

My aim is not necessarily to produce art that “is ornamental” but rather to challenge ideas, ideals, behaviour patterns etc. that often pass by uncommented. I am further interested in questioning the relationships between politics and art, social media and art and social dynamics in a globalised context which often prioritises (in my opinion) social media short cuts to celebrity-status, politically-correct trends, blatant artistic style copying, and lack of creativity as regards current and future relationships between artists, art galleries, art museums, street art and art on the internet. My perspective is that creativity is now a “human right and a vital resource”, and that the truest value in art today lies not in a long curriculum vitae or social media hype, but rather in the art that is freshly-/newly-produced and the contexts in which it is presented and marketed. The function of art today and in the near future is (again, in my opinion) directly related to the degree in which art inspires and encourages all persons to embrace creativity in their lives, rather than to create individual “icons”.

“Inspiration is for amateurs — the rest of us just show up and get to work.”

— Chuck Close


Sitat: “Det er viktig å ha gode tekniske ferdigheter men kunst krever publikumstekke, publikumsvennlige ideer, budskap og evne til å bevege mennesker — enten til glede og inspirasjon eller forakt etc. God kunst formidler ut fra hjertet og tankene til kunstneren som beboer på planeten. Det tekniske blir ingen erstatning for dette.”
— Adam Donaldson Powell

Quote: “It’s important to have good technical skills, but art requires crowd appeal, ideas of public/social interest, messages and the ability to move people – either to joy and inspiration or contempt etc. Good art conveys from the heart and mind of the artist as one who lives on the planet. Technical skills alone will not compensate for lack of this.”
— Adam Donaldson Powell

“Wanted: for breaking the rules of Art and Writing!”, caricature/self-portrait, 65×90 cm., oil on canvas, 2018


“Every new painting is like throwing myself into the water without knowing how to swim.”
— Edouard Manet


“Like Vincent van Gogh, I am an impasto painter. My painting tools include brushes, knives, plastic, rags, sponges, credit cards, pieces of wood, leaves, fingers, hands, feet … basically, whatever it takes to create the effect, textures and spirit of the idea to be conveyed. I paint on everything I can find: canvas, paper, wooden boards, cardboard, cloth, styrofoam, rocks … It is both a passion and an addiction. Lots of dopamine in my brain, I guess.”
— Adam Donaldson Powell

“Straight to Hell” — Mapplethorpe in triptych, oil on canvas, 2018.


I decided that it was best to depict Mapplethorpe in an expressionist style – and almost like a charcoal and chalk painting. This to depict the simplicity he has hidden behind in his public appearances, and in his art photography. The wisdom of that choice is apparent in the picture in the middle, which deals with his internal perceptions of himself, and where the spectator’s eye goes straight to the majestic Cala Lily – The flower of Death – which Mapplethorpe was so keen on. And the flower is so calm and majestic that the drama of the expressionist style is immediately reset in a single glance.

This slideshow requires JavaScript.

Robert Mapplethorpe triptych – a work-in-progress. Keywords: Mapplethorpe, tabloid (lurid, sensational) art, guns as penises, penises as guns, splattered blood, blood stains, sex, AIDS, crosses, Calla lily (flower of Death), sado-masochism, fetish, narcissism, pecs and nipples, the body as a living sculpture, perfection vs. the glory of the imperfect, Don Herron’s iconic Tubshot photo. Each panel measures 40 x 50 cm.

NB. Yes, I address Mapplethorpe’s obsession with Black men and their bodies / genitals by featuring Mapplethorpe himself in mirror image — as both Caucasian and Negroid. In this way his desire to completely embody and define ultimate personification of sexuality will finally be complete.


The iconic Don Herron Tubshots photo of Mapplethorpe was chosen as my model because I actually met Mapplethorpe at his loft when Don and I delivered the photograph to him. This triptych is my “tribute” to both Don Herron and Robert Mapplethorpe.

And here is Don’s portrait of me (in our bathtub in the East Village, NYC in 1978):


Eclipse/craquelure, oil on canvas, 40×40 cm.

Fishing net embracing glowing bits of plastic, 40×40 cm, oil on canvas:
This abstract painting is about environmental problems related to pollution of the seas — both with waste such as plastic, but also with abandoned fishing nets. The colourful plastic attracts fishes, which consume it.

“Cracking up (Craquelure)”, oil on canvas, 40 x 40 cm.


Aged stone (Oil on styrofoam).

Roses and a teardrop for Las Ramblas, 15×15 cm, oil on canvas, 2017. This miniature abstract painting was inspired by the terror attack upon the people at Las Ramblas in Barcelona. It depicts a rose-floral wallpaper-like background with a line/queue that is broken — interrupted by a single teardrop.


“Vertigo”, 50×50 cm., oil on canvas with “watercolour effect”.


Toxique / Toxic
“Toxique / Toxic”, 40×40 cm., oil on canvas, is an abstract painting which uses colourfield and geometric styles to induce feelings of the “disgusting” which is beautiful. Here “the disgusting” is created by color combinations and the dizziness of the geometric images seemingly twirling about in atmospheric bile. The painting gives a sense of elegance in its overall balance and technical precision, while at the same time requiring quiet acceptance of discomfort.


Nightfall – with Winter giving way to Spring, 50×50 cm., 2017.


White night no. 1
“White night no. 1”, oil on canvas, 50 x 50 cm.

Meteors in the night, oil on canvas, 50 x 50 cm.

Not seeing the forest for the trees.
Not seeing the forest for the trees, oil on canvas/mixed media, 60×50 cm.

Bokstavelig talt (literally speaking), oil on canvas, 30 x 30 cm.


Emptiness giving birth to Nothingness, oil on canvas, 100×80 cm.

“Being = Nothingness”, 40×40 cm., oil on canvas, 2017.

Ascension, oil on canvas, 30 x 30 cm.

Video game shooting gallery.
In an age when oil paintings have little chance of competing with the internet, television and video games, I decided to paint an abstract depiction of a video game shooting gallery against a concrete background — no penetration.



“Tears flowing while walking through the city”, oil on canvas, 40 x 40 cm.


Sunset reflecting through Venetian blinds, onto wooden floor.


Equilibrium, oil on canvas, 50×50 cm., 2016.


Tale of three colour fields, oil on canvas, 81 x 100 cm., 2016.


A Wrist-cutter's Glow.
A Wrist-cutter’s Glow, oil on canvas, 50×50 cm.



«Sunrise in early Spring», oil on canvas, 65×90 cm., 2018.




“I see poetry everywhere. In fact, each and every one of my paintings is a poem or a story … with hints of a song, an opera, a dance, a theater performance.”
— Adam Donaldson Powell


Redefining Cocteau’s interpretation of “The young man and death”:
My painting — entitled “The young man and death” – represents a violent and hazardous order; whitewashed mental chaos with the conviction of purification and with cutting knife marks of self-harm … and swirling depression with so many overwhelming rhythmic atonalites that the blue electricity of pulses and currents are stifled by a huge blanketing whiteness that gives a general impression of calm and control – as long as we follow each breath religiously. It is an atmosphere of violent beauty; the inner environment that cleanses and consumes all the perceptions of the outside world which drives us to the ultimate act of correction and glory: suicide. The whiteness of depression is the light at the end of the tunnel of death – promise of rebirth, new virginity and ultimate seduction. The thick slabs of paint represent the mud walls we erect to keep ourselves safe in our cocoons – in our fortress. Depression does not concern sadness, but rather the construction of our castle in heaven, where our indifference to success and failure can finally flourish. Nirvana. Here, death is not a woman, but the young man’s own psyche. The misogynistic vision of Cocteau will be whitewashed and exposed as a void that disguises itself as male self-victimization. Once the many layers of oil paint are completely dry, I will cover the minimalist painting with camouflage netting, this in order to force the viewer to want to look at the discomfort in the pictures. To look under the veil and then to identify oneself sufficiently in the Mind to be able to look for the veil of Emptiness that is under the veil. Of course, no one really wants to know about another person’s depression – especially if they are suicidal. We are all fighting the same depression and nothingness. It’s only a thought away. The result will be a two-dimensional sculpture painting.

Jean Maurice Eugene Clement Cocteau was very talented, very brave, very “gay”, very famous … and very misogynistic. Only the unfortunate or idiots would be stupid enough to try to make him angry.

“The young man and death In a workshop, a young man alone is waiting. In comes the girl who was the cause of his distress. He rushes towards her, she pushes him away, he begs her, she insults him, scoffs at him and tells him to go hang himself. He hangs himself. Only the body of the hanged man remains. Through the roofs, death then returns in a prom dress. She takes off her mask: it’s the girl. So she puts her mask on the face of her victim. Together, they go through the roofs.
— Jean Cocteau”

More than seventy years have passed since this work had its world premiere. And the idea still haunts me. The story is too thin … a cheap shot designed to shock. The cheating woman has the coldness of a man, and the desperate man (the cuckold) hang himself as the woman demands. The irony is that a number of men today commit suicide after their wife’s infidelity or divorce. But what else is behind this suicide? Surely there are problems of depression and relationship within man before this development? Was the woman really responsible for his death? Is the infidelity of another person really the cause of suicide – or is it just a symptom, the result of a long-standing illusion that can no longer be denied? Is not this another expression of misogyny in the age of Romanticism? And how can I recreate this story / painting – penetrating more into the young man’s psyche – far beyond this woman representing death, who can so easily be blamed?

It’s the same for both or all genders (there are more than two now). Because depression and suicide are taboo subjects, I want to force the public to commit to watching and walking inside the painting. These problems need to be normalized – like cancer and other syndromes and lifestyle diseases.

“It is important to understand and simply accept that all our past experiences, whether joyful or sad, continue to accompany us throughout our lives and greatly affect the way we feel today. Problems can only trigger feelings of insecurity, shame, envy or revenge if we deny that they are part of us. To be overwhelmed by such feelings in the most difficult situations requires us to recognize them and consciously integrate them as natural parts of our psyche. Only then will we be able to develop a loving acceptance of ourselves with all our flaws and shortcomings.” — from www.

As I always say, a lot of fiction is more factual than readers realize. Cocteau was very misogynistic and obsessed with wanting a son, and had great anger when the woman of his choice (Princess Natalie Paley) rejected him: he said that women were “the killers of poets’ children”, there had been many suicides in his life, and so on – all of which indicate his psychological problems at work in this story.

“Le jeune homme et la mort”, 65×90 cm., oil on canvas. This is my re-interpretation of Cocteau’s idea for the famous ballet. See my notes about this HERE!


Democracy by gun (We the People), oil on canvas, 100×80 cm., 2016.

“Entre Nous et Eux”, oil on canvas, 90×65 cm. is about keeping a frozen smile and trying to remain “politically correct” in a Western world that is literally under “cultural attack” by the sheer numbers of refugees and immigrants, and further complicated by European countries’ relative naivité and unpreparedness for multiculturism. It is therefore that the background resembles the Norwegian, Czech, Russian, French, Dutch, British, US etc. flags with the red, white and blue colours … but which are are increasingly inundated with falling leaves which eventually become lively foreign objects, cultures, traditions, religions etc. — and all the while with more and more persons competing for celebrity, money, resources, ideologies and power etc. It symbolises an irreversible shift in cultural and social values and traditions, and the tensions churning and burning underneath. It is about the new “n-word” which is socially and legally forbidden to express in public forums. The penalty is being stamped as “a racist”, and prosecution.


Letting go (of love), 40×40 cm., oil on canvas is about the process of trying to move on — without a loved one. The memories of that person become blurred, the pain is romanticised, the sense of betrayal and anger gradually becomes replaced by arrogant self-pity and then denial that love ever was (in fact) mutual. Solace and personal redemption are found written as graffiti on the wall — in the words of Jean-Paul Sartre: “We are condemned to be free” (here in Spanish: “Estamos condenados a ser libres”).


“Faceless animus” asks us how well we really know another person, and how much we really want to know — the stereotypical or racial countenance … or the faceless animus that lies behind it?


“Talking heads / Social media”, 65 x 90 cm., oil on canvas, 2018, is all about “the buzz” (slander and gossip, #hatersgonnahate, #lookatme etc.) in black and white.


Miniature series — This miniature oil painting series is comprised of 18 small paintings (15×15 cm and 20×20 cm), which have various contemporary themes, including fame and death, love gained and lost, climate change, moving on in Life, #metoo, terror, sex, emotional vampires, nuclear storm weather forecasts and more.
The paintings include: 1) “Endless Winter/Climate change”, 15×15 cm., oil on canvas, 2018;
2) “Spleen – love dissolving”, 20×20 cm., oil on canvas, 2018;
3) “Roses and a teardrop for Las Ramblas”, 15×15 cm, oil on canvas, 2018. This miniature abstract painting was inspired by the terror attack upon the people at Las Ramblas in Barcelona. It depicts a rose-floral wallpaper-like background with a line/queue that is broken — interrupted by a single teardrop;
4) “Trou de la gloire/Gaufres bleues; Oui, l’amour est bleu … et la véritable gloire est un trou dans un mur qui s’effrité, («Gloryhole/Blue waffles; Yes, love is blue … and real glory is a hole in a crumbling wall»)”, 15×15 cm., oil on canvas, 2018. I accidentally stumbled over photos of “blue waffles” on the Internet. They were so disgusting and glorious that I had to challenge myself to interpret the magnificent phenomenon;
5) “Ghosts no. 1 — Climate change sucks the life out of Spring”, 15×15 cm., oil on canvas, 2018;
6) “Ghosts no. 2 — Climate change sucks the life out of Spring”, 15×15 cm., oil on canvas, 2018;
7) “Love between vampires: Yeah, Baby — let’s tear off a piece! (L’amour entre les vampires: Viens m’enculer!)”, 15×15 cm, oil on canvas, 2018. Whether our needs for giving and receiving love bring out the vampire or the angel in us, it is all an expression of our evolving humanity;
8) “Niqab — of love and fetish in an age of terror”, 15×15 cm, oil on canvas, 2018. Keywords: niqab, AK47, roses, blood, hidden passion, discomforting eyes, risks, fetish, love, 15×15 cm, oil on canvas, 2018;
9) “Pissing on our parade”, 15×15 cm, oil on canvas, 2018. “Pissing on our parade”, is a commentary on gay violence — i.e. violence, murder and terror committed both by and against gays. LGBTQ-persons are “people”, and prone to the same problems and personality issues as all others in society. However, whenever an LGBTQ-person commits an act of terror (Orlando), sexual violence and harassment (by the way, these harassments are seldom investigated as #metoo, or even hate crimes), murder plus cannibalism, or other acts that feel like a violation of what many consider to be basic humane and civilised values, it feels as embarrassing to me as a gay person as muslims must feel when yet another act of hate-inspired terrorism is committed in the name of Islam. It is also embarrassing to me as a human and as a soul in active incarnation. These individuals — regardless of whether they are disturbed, or just hateful — are pissing on our parade. Keywords: pissing, parade, #stopthebleeding, wounded hearts, rainbow, #stopthehate;
10) “Silence.”, 15×15 cm, oil on canvas, 2018. “Silence.” is about the news and important information that we do not receive, or that is kept hidden from us by politicians, corporations, scientists and the mainstream media. It is also about what most of us are thinking but do not talk about due to social controls on thoughts, speech and actions. Silence should be a beautiful thing — a reprieve from the noise of everyday life and stress … but sometimes the silence is something to be feared. When we fear it, silence is the new noise;
11) “White Noise.”, 15×15 cm, oil on canvas, 2018. “White Noise” is about the constant chatter of mainstream media — spitting out and vomiting the same news stories ad nauseum; in all newspapers, radio and television stations, on the internet … all over the world, 24 hours a day. The noise keeps us company when we are alone and trying to escape the silence of loneliness … and we eventually neither listen to nor hear the warnings, worries and hatred broadcasted and echoed from high and low. The noise is our new silence;
12) and 13) “Broken Hallelujah in the Landscape of Life.”, 15×15 cm, oil on canvas, 2018. “Broken Hallelujah in the Landscape of Life” interprets the crevices, rips, tears and shattering we all experience, expected or not; i.e. those moments and periods where our hopes and dreams, infatuations, marriages, friendships, ways of perceiving the world and other people etc. fall apart, unravel and demand re-adjustment — with new vision. Although often quite painful, these adjustments provide us with opportunities to re-invent and re-define ourselves. The choice is ours: to suffer for an indeterminate period of time … or to climb down from the cross and explore “the new”, seeking balance — with a positive sense of moderation.“Ariston metron!” (“Moderation is best!);
14) “#metoo: Men’s room — the writing on the players’ wailing wall”, 15×15 cm, oil on canvas, 2018. This graffiti painting reveals the angry and dissatisfied murmurings of some men on social media and (as here) on a men’s room wall. It is generally considered to be politically incorrect for men to voice concern over matriarchal feminism and the #metoo movement, and the fear of loss of basic rights for men. When these voices are restricted to hidden enclaves and not allowed to be measured and discussed openly then the ensuing negative consequences can be devastating. The frustrated graffiti text includes: matriarchy; man-haters; Fuck #metoo; Fuck no sex; men prefer 1) whores, 2) men, 3) sex dolls; custody rights; lonely; feminazi; dutch treat etc.;
15) and 16) “Weather forecast — Warning, High Probability of Nuclear Storm; Part One: Alert” and Part Two: Perfect Storm”, 15 x 15 cm., oil on canvas, 2018. Perhaps the most immediate threat of annihilation of the planet and humanity is the threat of nuclear war and a serious nuclear accident. This work predicts a future where such threats becomes part of the weather and terror threat warning system. Colour code: yellow and black; the smoky grey background tells the rest of the story;
17) and 18) “Memento Mori — Fama (Starry Night)” and “Memento Mori — Damnatio Memoriae”, 15 x 15 cm., oil on canvas, 2018: These two simple, if not “pseudo-naïvistic”, paintings are about the naive personal quests for fame after death, i.e to live forever through our children’s or others’ minds — by way of recorded fame in this lifetime and myths; and the opposite and more likely reality: of being dead forever/being forgotten. In “Fama” the subtitle “Starry Night” functions as a Hollywood star reference as well as is a commentary about Vincent Van Gogh’s failure to achieve notoriety and artistic recognition before after his physical death. His own personal “starry night” is rather a quiet internal burning and ember-like glow — without spectacle. For artists, authors and musicians this notoriety is often established and maintained by way of representation, archives and mention in museum collections, published books, recordings, Wikipedia, the internet, history books etc. However, with ever-developing technology and increasing limited space in libraries and museums these hopes of living forever are being thwarted. For others who try to establish themselves as television hit show stars, as bloggers and as reality stars the goal is perhaps even more unattainable. We cannot take worldly acclaim with us to the afterlife, but to ensure that we still maintain a presence in this world after we leave it physically has been a dream of many for ages. The looming question is: “What is the purpose of Life and achieving notoriety — do we live for the ‘now’, or forever?” Another important question is “Should all art be made with the intention of it living forever; what is the value of temporary, performance and disposable art?” And of course, “Memento Mori — Damnatio Memoriae” reminds us that — should we fail to achieve lasting fame — we will not only remain “still dead” but we will disappear … forever, and without a trace, save possibly a short-lived grave and tombstone.
These paintings comprise a series of miniature abstract oil paintings that are about feigning indifference in a crazy and brutal world because there is simply so much that seems out of our control and we must often pretend to be indifferent in order to survive from day to day.


“Love illusion”, 65×90 cm., oil on canvas. 




The London Police - z1

Jernbanetorget 4-z

Storgata 51-1

See my Oslo Street Art Documentation Photography (including documentation of works by The London Police, Galo, Shepard Fairey, Logan Hicks, D-Face, Will Barras, Faile, Martin Whatson and many unnamed graffiti artists) HERE!



I have reviewed art and photography: art photography appearing in photography book publications, paintings in public exhibitions, and art photography collections made for / on the internet. Here are two examples of my photography criticism using an epistolary format:





Atlantis Ritual Bracelet, silver and gold, with symbols from the Universal Language of Light.

Lemuria Ritual Necklace, silver, gold and brass, with precious and semi- precious stones.

“TRANSFORMATION PENDANT”: design channeled by Adam Donaldson Powell, in silver and gold with aquamarine. Note the Eye of Horus and the Six-pointed Star (symbolizing that there are many ways to God/Enlightenment but that all are based upon Wisdom) and the “A”-tone as the mantra device.

Nepali Necklace, turquoise, lapis lazuli and silver.



“The day after 9/11, oil on canvas” —
In the permanent collection of Rikshospitalet in Oslo.



Y yo pienso aun en ti, oil on canvas, 100×100 cm.

Tainted dreams, oil on canvas, by Adam Donaldson Powell.

Beetlemania / Bugging out! (Oil on canvas, 30×30 cm x two paintings).

samfunnets forfall (decay of society)
The decay of society (Oil on canvas).

Galaxy (Oil on canvas).

Autumn foliage (Oil on canvas, 60 x 50 cm.)

homage to malevich
Tribute to Malevich (Oil on canvas).


“Crumpled paper, oil on canvas, 50×62 cm.”


“Austin, oil on canvas, 80×80 cm.»

Spring Snow

“Tribute to Yukio Mishima: Spring Snow”, oil on canvas, 50×50 cm.”

“Seascape I” (original of a series), oil on canvas, 120×120 cm.”

“Hope”, oil on canvas, 50×50 cm. for more details and full list

Fading Faces — en Español


Preguntas de la entrevista realizada por Adam Donaldson Powell (artista/autor/crítico – Noruega) y Katya Ganeshi (autor/artista/activista de los derechos de los animales – Rusia).

ADP: ¡Hola! Se trata de una exposición fascinante, tanto por su temática e ideas como por la cantidad y calidad de las obras. Katya y yo queremos hacerle algunas preguntas. Karl-Kristian, ¿puede hablarnos de su propio proceso en relación con este proyecto artístico? ¿Cuál fue el impulso, cómo planificó y ejecutó los viajes, las cooperaciones y los permisos para fotografiar a estos hermosos animales? ¿Y cuál es la intención de la exposición? ¿Es una exposición de enseñanza y aprendizaje social, además de una exposición de sus ideas y habilidades creativas? 

KKJH: Siempre he tenido una profunda conexión con la naturaleza. Fue el visionado de un documental titulado “Virunga National Park” lo que me inspiró a embarcarme en este proyecto concreto. Escuchar las historias de los guardabosques y oírles decir “estoy dispuesto a sacrificar mi vida por el parque nacional y los animales que lo habitan” me impactó profundamente. Antes de viajar, busco a alguien de la zona que pueda llevarme al país que voy a visitar, hacemos un plan de viaje y me voy. Para mi instalación artística “Fading Faces”, capturé imágenes de cinco países diferentes, mostrando rostros de animales con los que el humano-animal se identifica fácilmente: los monos. La instalación artística está diseñada para ayudar al hombre-animal a abrir su corazón al mundo vivo que le rodea. Es una combinación de enseñanza del aprendizaje social y de demostración de mis ideas y habilidades creativas. Personalmente, creo que el arte debe dar a los participantes algo que pensar y sentir. 

ADP: ¿Tiene alguna historia o anécdota sobre este proceso de cuatro años, sobre los retos y dificultades, las experiencias sorprendentes o divertidas? Háblenos de algunos de ellos.

KKJH: Cuando estás fotografiando, puedes quedar absorto en el proceso, siempre queriendo sacar lo mejor de lo que puedes hacer. Cuando empecé el proyecto, me centré en capturar las mejores expresiones posibles, pero eso no me permitió disfrutar del momento. La mentalidad de criticarme siempre y de no estar contenta con lo que tenía a veces me hacía sentir que me ahogaba. Así que me permití dar un paso atrás y observar más, permitiéndome ser más juguetón. Esto me dio mucha alegría y creo que me hizo mejor fotógrafo. He tenido muchas experiencias maravillosas mientras viajaba, y son más que las malas. Muchas situaciones fueron aterradoras, como ser embestido por dos grandes espaldas plateadas o que un gran orangután macho se columpiara desde la copa de un árbol e intentara agarrarme. Ahora, mirando hacia atrás, creo que todas esas son buenas historias. 

ADP: En los últimos años ha habido muchos debates sobre las cuestiones éticas que rodean el uso de animales (vivos o muertos) por parte de los artistas en las exposiciones de arte. Esta exposición se inscribe en el marco de la responsabilidad social y la ética de “no hacer daño”, lo que significa que ni los animales ni su entorno han sido perjudicados o influenciados negativamente. ¿Puede hablarnos de su propia ética/política artística y social en relación con el tema de la utilización de animales en el arte? ¿No se trata de que los animales enseñen a los humanos a respetar mejor a otros animales, nuestros hábitats compartidos y no compartidos… y, en última instancia, a salvar a todas las especies, incluidos los humanos? Habla libremente, como artista y como amante de los animales. 

KKJH: Para mí, el especismo informa mi práctica. La obligación moral y el respeto a la vida son fundamentales en mi trabajo. Gran parte de mi arte – no sólo mi fotografía – fomenta una mayor conciencia del mundo natural. Los animales y la naturaleza han sido una fuente de inspiración para los artistas a lo largo de los siglos. Creo que debemos considerar la creación de obras de arte que incluyan animales no humanos de forma ética. En cuanto al arte que incluye al animal humano, hay muchas cosas que los artistas no harían, porque son inhumanas. Me parece que algunos artistas no siempre cuidan y respetan el contenido de sus obras, pero esto puede ser sólo un reflejo de la brutalidad de las sociedades humanas hacia el planeta. Esta falta de obligación moral podría ser la razón por la que el artista puede parecer a veces una persona cruel y salvaje. También puede ser que intente reflejar la falta de empatía de la especie humana hacia el mundo vivo. Al final, como creador de arte, tienes que considerar lo que es éticamente correcto y lo que no.

ADP: Ha optado principalmente por hacer estos retratos en blanco y negro. Personalmente, creo que el retrato en blanco y negro suele ser muy efectivo en el retrato, ya que añade misterio, subjetividad e intimidad al momento capturado. Pero, ¿por qué, como artista, eligió principalmente la fotografía en blanco y negro para esta serie? ¿Qué cámaras y objetivos has utilizado? ¿Cómo de cerca pudo acercarse a los animales y dónde se tomaron estas fotografías? 

KKJH: Creo que las normas aceptadas sobre cómo se “supone” que debe presentarse una fotografía nos llevaron a elegir el clásico blanco y negro. La fotografía tardó mucho tiempo en ser aceptada en el mundo del arte. Como el formato en blanco y negro fue el primero en llegar, aparentemente tiene más valor para unos que para otros. Durante esos cuatro años de fotografía descubrí que apreciaba mucho más la fotografía en color, y sólo después de iniciarme en la fotografía analógica empezó a gustarme la fotografía en color. Los antiguos maestros de la fotografía pensaban que el blanco y negro era la forma de mostrar el alma, y que el color no podía hacerlo. Puede ser difícil argumentar en contra de esto, ya que se ha enseñado y se piensa que es un hecho. Las fotografías que muestran las almas de los animales que he encontrado son las que se verán en la instalación. He seleccionado cuatro fotografías en color, dos tomadas con una cámara digital y otras dos con película de formato medio. Para mí, la vitalidad del color es un aspecto importante de la verdad y la expresión artística, y todavía estoy aprendiendo cómo perciben las personas las imágenes en color en comparación con las imágenes en blanco y negro. Intento mostrar más de lo que me gusta personalmente, a través de mis fotografías… y las imágenes en color son algunas de las más apreciadas por los visitantes. Para esta instalación he utilizado cuatro cámaras diferentes. Empecé con una Canon 5D Mark iii, antes de invertir en una Canon 1DX Mark ii, una Leica M10 y una Mamiya afd645. Utilicé una gran variedad de objetivos, siendo mi principal elección el Canon EF 28-300mm, con el que estoy contento en términos de diseño y función. Las 25 fotos diferentes fueron tomadas en Etiopía, Uganda, Ruanda, Tanzania e Indonesia. El nivel de profesionalidad que rodea a la gestión de los distintos parques nacionales ha variado, y existen normas sobre cómo hay que comportarse con estos animales salvajes. Puede acercarse, pero no demasiado, por la seguridad de los animales y la suya propia. Podemos transmitirnos enfermedades entre nosotros. A veces se cruza la línea de la distancia, por ejemplo cuando un joven gorila me golpeó juguetonamente en las costillas. 

ADP: ¿Cuál es el efecto que se pretende con esta exposición? ¿Y a dónde espera llevarla en el futuro? 

KKJH: El objetivo es abrir la mente y el corazón de la gente al mundo vivo que nos rodea. Quiero mostrar la instalación al mayor número de personas posible, y me preocupa más el impacto que tendrá que vender la serie de fotografías por completo. He recibido muchos comentarios positivos de las personas que han visitado la exposición. 

ADP: Y ahora Katya Ganeshi, mi colega en Rusia, tiene algunas preguntas para ti, Karl-Kristian. 

KG: ¿Cómo se puede modificar el pensamiento humano con la ayuda de los monos (y otros animales)?

KKJH: Por ejemplo, la construcción del macho alfa en la sociedad humana, donde hay que ser fuerte, intrépido, despiadado y ajeno a lo que se considera femenino, es diferente en otros grupos animales. Cuando conocí a los chimpancés, vi (por supuesto) el lado que los humanos consideramos alfa. Sin embargo, éste es sólo un aspecto de ser un líder de grupo; también hay que ser cariñoso y atento con los demás miembros del grupo.  Para mí, esa es la verdadera fuerza.

KG: ¿Puede el pensamiento de los simios superar al de los humanos en el futuro?

KKJH: Si la sociedad tal y como la conocemos se derrumba y ya no tenemos un sistema en el que confiar para nuestra supervivencia, muchos de nosotros moriremos de hambre porque ya no habrá comida en las tiendas. Entonces tendremos que volver a nuestras raíces: ser cazadores-recolectores que viven de la tierra. En la actualidad, la mayoría de los seres humanos no son capaces de alimentarse sin las comodidades de nuestra sociedad. Si nos fijamos en el reino animal, vemos que son capaces de mantenerse a sí mismos, y creo que tenemos mucho que aprender de ellos cuando se trata de vivir con la naturaleza en lugar de destruirla. 

KG: El filósofo Bruno Latour considera que los científicos modernos son los mismos “salvajes y bárbaros”. ¿Compartes su opinión?

KKJH: Por desgracia, se hace mucho daño en nombre de la ciencia “por el bien de la humanidad”. Jugar a ser dioses y perjudicar la vida con esta justificación es un signo seguro de especismo. 

ADP: Gracias Karl-Kristian, Jesper y Katya. Katya y yo le deseamos el mayor éxito para esta exposición tan importante.

Vea la exposición virtual aquí: