Lately, I’ve been drawing a lot of inspiration from conspiracy theories. I think it’s fascinating how in recent years these emerging internet conspiracy theories are becoming a part of our political discourse. The world seems to be in a bad state right now; people are in a lot of pain and therefore open to all kinds of explanations. What fascinates me is not just the theories, but also the way they are constructed by constantly attempting to connect the dots, and how symbols are often repurposed to create extra layers of meaning.

It depends, really. The music I play in the studio affects my painting, at least somewhat. This week, I’ve been listening to the English band Coil from the ’80s, the old-school black metal band Bathory, and the Swedish rapper Yung Lean.

Try not to analyse your work before it's finished.

I will divide it into three categories:

Kunsthalle: Simian, Copenhagen

Gallery: Buchholz, Berlin

Museum: MOCA, Los Angeles

The first thing I notice about a person is the energy and vibes. It’s not necessarily what they say or how they look; it’s more about the feeling they give off when they enter a room. I think that we often respond to that instinctively, without being fully aware of it.

I feel it’s both. Storytelling is, of course, a big part of my work, but, at the same time, I think it’s important that the works pose questions, both to the viewer and to myself. A question can draw you into the work and make you want to explore. I’m not trying to impose anything settled with my paintings, but rather to point to something that can be interpreted in different ways.

The Wizard of Oz [Novel by Frank Baum, May 17, 1900]

Graffiti...

I guess I have to say LA. I’m half American and have spent most of my summers in LA since I was a kid. The energising sunlight in LA has always been something I’ve looked forward to throughout the year, especially after the dark Danish winters.

I actually think a title is a useful tool to pull the viewer in a certain direction, or in some cases, to create confusion. It can be challenging to find the right title, but a good one can bring the work to another level.

The part I enjoy most is working on my paintings in the studio. Sometimes it feels like losing all sense of time and everything around you. I don’t think there’s a better feeling.

Blue Velvet [David Lynch, 1986]

Time of the Wolf [Michael Haneke, 2004]

A Woman Under the Influence [John Cassavetes, 1974]

Film director. Before I entered art school, I dreamed of making films, and I actually knew much more about film than about art when I first started there.