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Scott Hunter, Scotland

Scott Hunter is a visual artist and researcher operating in the environmental humanities who adopts a phenomenological approach to studying the landscape. Intrigued by ecological resistance and intelligence, his current project focuses on how nature reclaims barren landscapes and the ecologies that emerge in post-industrial sites. Integrating photographic fieldwork with camera-less imagery, he works with site-specific materials to provide deeper insight into the entanglements between humans, materiality, and the environment.

Recent project Am I The Wasteland? formed part of his MFA in Contemporary Art Practice at Edinburgh College of Art, receiving the FEUVA award for outstanding student work and awarded with a solo exhibition at the esteemed Summerhall venue in Edinburgh. Pushing the boundaries of photography, his research explores the aesthetic and scientific importance of visually representing the Anthropocene.

Comprising experimental photography, soil chromatography, and found objects from the landscape, his fieldwork draws from astute observations of the local terrain. Recent projects include recording increased precipitation directly onto photosensitive paper, scientific photographic representations of soils, and utilising organic matter -like mosses and algae- to make analogue photo developers.

Working directly with raw materials, Scott considers the origin of each material and their symbiotic relationships within the construction of images. By embedding the materiality of the landscape into the work, he asks whether a photographic practice can mediate between industrial and ecological activities.

During his time at BKN, Scott will conduct a site-specific investigation of the surrounding area, combining photographic fieldwork with soil chromatography and in-situ cameraless work using materials sourced ethically from the landscape. The study elaborates on his current Darkroom Ecology project that explores nature-based solutions to harmful chemicals used in analogue photography. By utilising the residency's darkroom facilities, he intends to expand this process beyond black and white negatives to include wet prints. In addition, he will replace silver-containing fixers with saltwater to provide a non-toxic alternative to the disposal of heavy metals in water systems.

To complement this research, Scott's Darkroom Pedology project builds a library of soil chromatograms from diverse sites to enable comparison between areas
considered pristine; and those deemed contaminated. In Björkö, he will extend the library to include pioneer species -such as lichens, mosses, and algae- to broaden our awareness of how ecological successions may emerge in such landscapes and develop into climax communities(forests) through time. Fascinated by the relationship between the wilderness of the forest and the agency of the sea, he will use his time at BKN residency to reflect, experiment with new fieldwork techniques, and develop a new body of work.

Studio: 11
Dates: Nov 19-Jan 15

Huldrans Dress, Oona Hyland, July 2022


Sibylle Feucht, Germany
invited grant pending

Feucht has an extended education in art, design and science from universities in Germany, Switzerland and The US. She has received stipends and residencies for numerous project in 2022 she had a  solo show and publication with the independent Swiss Art Magazine _957 from Lucerne/CH

working approach

The questioning of the image as a depiction, as a visual narrative and as a supposed construction of reality is a central aspect of my artistic practice. The image, in my case this often means the photographic image, has long since left the representation of reality behind and consciously intervenes in the construction of the world (perception) in different areas and changes it. The world of images in which we live take possession of our thoughts, feelings and expectations and determine how we see the world. – There are hardly any places where we have not already been through pictures before we physically enter them for the first time. This creates a certain uniqueness and one-dimensionality of perception. In and with my work, I try to give back aspects of blurring to these actual shortenings of perception, to question familiar concepts of thinking and perceiving and to add other, new ones to traditional narratives.

proposal | project | Dark Matter

My fascination for the darkness and for the night goes together with the fascination for what can be seen or perceived and what stays in the shadows, of what we know and of what we can only guess. Day and night, light and darkness are different reference systems that have their own narratives that seem to be ubiquitous and globally the same. – The day and the light are connected to the live, the new, the hope, whereas the night and the dark are connected to death.

Only through the invention of gas- and electrical light at home and in public space this changed a bit by expanding the hours of light into the darkness. We are now living in an era where we are so much used to

have light whenever and wherever we want that experiencing darkness becomes a rare event. Usually, it is necessary to travel to remote places or go to the mountains for that.

During a residency in Slavutych/Ukraine in 2018 I experienced this darkness within a city. On one side the streets have been much less lit by lamps then we know it from our cities in western Europe and on the other side only half of the apartments were occupied, therefore at night half of the windows remain dark.

To understand this darkness and what it did to me I started to experiment with taking images of and in the darkness. During the Corona lockdowns in Germany, that also constituted a form of darkness I continued to work with the material generated in Slavutych and realised that I want to dive more into this motive of darkness that is also always attached to solitude and isolation.

The residency at BKN during the darker time of the year provides the perfect context to experience the darkness in an intense way and research further into this field to continue my photographic project as well as develop new work.

Studio: 35
Dates: feb-march  (duration tbd)



If you want to apply send introduction to 

Anna Viola Hallberg artist and curator for BKN          Patricio Salinas, Photographer and darkroom director for BKN

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