ALWAYS with Nik Vestberg

What made you start creating art, and who inspired you?

It happened in phases.

I’ve taken pictures since I was a kid and played in various punk bands for many years. When I was making music, I was inspired by Jad and David Fair from Half Japanese and their "no rules" approach. Their idea that you can master the guitar in a day if you ignore the chords applies to all art forms. Later, I discovered Daido Moriyama and his no-bullshit approach to photography. His quote: "Any camera is fine. It is only the means of taking a photo." is something I truly live by.

Most of all, I’ve always been part of or closely connected to the punk scene and that is still where I feel most at home and where I find most inspiration. No specific bands or people, just the general DIY attitude, sense of community and solidarity...and of course the idea that you don't need to wait to do things, you don't need to be good at what you're doing or get anyone's permission - just do it! 

How do you work best – are you structured, or do you thrive in chaos?

I always try to have a camera on me—a digital one in my pocket and an analog one in my bag. But I’m not a gear nerd—it’s not about the equipment, it’s about capturing the moment. Some of my best shots were taken with my phone. If I feel creatively stuck, I go for a walk and take random pictures. Often I go to streets or areas I already know, as it forces me to look at things differently.

I must have taken 1000s of photos around Nørreport Station in Copenhagen, but I keep going back. Of course I like going to new places and it can be a great way to reset yourself, but it can also be a bit over-stimulating. If you really know a place, you need to look much harder for new interesting things.

How would you describe your style, and how has it evolved?

I don’t know if I have a fixed style, but over the past few years I’ve found comfort in black and white and high contrast. It gives a layer of anonymity, which I like. Even if a lot of my pictures are “candid”, I never try to embarrass anyone. At the same time, I’m always experimenting -especially with film.

Some of my favorite shots come from rolls where something went completely wrong in development. No one can explain what happened, and I’ll probably never be able to recreate it. But I live for those accidents.

What was your most mind-blowing artistic experience?

The first time I watched Gummo by Harmony Korine. I saw the VHS cover in a video store, and it called out to me. Watching it for the first time as a teenager was definitely a life-changing moment. I had never seen anything like it. It is just so carefree and so full of texture. It proved that rules in art are ridiculous - you can and should do whatever you want.

It's still one of my favorite films of all time, right up there with Persona by Ingmar Bergman and Bring It On (yes, the cheerleader movie… shut up).

What’s the biggest risk you’ve taken as an artist, and how did it turn out?

Self-publishing my own zines. The first time was a big risk - I wasn’t making much money, and I didn’t want to overprice them, so I sold them at almost cost price. But they sold out quickly, which gave me the confidence to print larger editions (and even charge a bit more for them).

How would your friends describe your art?

Maybe a bit obsessed with mannequins and strangers' legs? I have no idea.

If you could collaborate with any artist, dead or alive, who would it be?

Alive, Harmony Korine, Dead, Ingmar Bergman.

What is the most memorable part of being an artist?

The small things. When other artists use my photos to complement their work. Seeing my images on record covers, tour posters, and band T-shirts is one of the few moments where I think: "Okay, this makes sense."