Live paintings require me to set up approximately 1.5 hours before guests arrive. A painting can take anywhere between 4–6 hours to complete on site, depending on size. Regardless of how long your event is, I make sure the artwork is finished and perfect before you receive it — even if that means an overnight visit to my studio. Sometimes I encounter an evening so complex and intense that it requires more time, or an unexpected time constraint.

All my materials are archival and of museum quality, so that your painting holds as a legacy for the future. My acrylic paintings are created on stretched cotton canvas with Winsor & Newton.

The acrylic paintings are finished on a canvas that you can potentially hang on your wall the moment you get home. It is up to you how — or whether — you want to frame it. The painting does not need glass. My only recommendation is to hang the canvas out of reach of direct sunlight. Sunlight can slowly fade the colour intensity over time — albeit over the course of decades.

I bring all my own equipment, including easel, lighting and a water container. The only thing I need is access to water — which is never a problem — and a nearby power outlet in case I need to plug in my light.

Of course. If the drive is more than one hour from my home base in Bjärred, Oresund Region, I simply ask that travel costs are covered by the client. If the venue is more than 1 hour away by car, the client must provide fund for travel and accommodation for the length of stay for the event. Travel is not included in the package and my base is Bjärred, Oresund Region.

Absolutely. I set up and begin painting before the ceremony starts, work during the ceremony with focus on your faces, and then finish the painting during dinner — so that guests can follow the creation in real time.

Yes. I paint all kinds of occasions — weddings are simply my speciality. If you have a milestone birthday, a charity gala, or something similar, get in touch and we will work together to bring a remarkable painting to life.

No. A booked date is sacred. I never cancel a client in favour of a more lucrative commission. The person who books first has my word — and that word holds.

I prefer not to work with couples who seek photographic precision or who focus on small details. My work is about the bigger picture — the light, the atmosphere, and the feeling of the day as a whole.

I have positioned this portfolio for a level of greatness that almost no artists in the world have ever achieved — and even fewer this early in their artistic journey. That is a conscious choice, and it requires an equally conscious clientele. If what matters most to you is that every detail is reproduced exactly, I am probably not the right artist for you — and that is completely fine. I want every couple who books me to be as enthusiastic about my way of working as I am about their day.

The Oresund Region is not a market choice. It is a statement of intent.

Two countries, two cultures, two languages — united by a bridge and a shared history of trying to understand each other. There is something deeply human in that. And there is something deeply human in a wedding.

I chose to build my portfolio with a focus on this region because bridge-building — trying to understand each other, working together, meeting in the middle — is one of the most beautiful things people can do. Just like love.

I am an artist based on the Swedish side. I paint on both sides. And I believe that art, like love, knows no borders.

My style is best described as expressive figurative impressionism with a documentary purpose.

I do not paint a scene from the outside — I paint from within it, capturing the kinetic, emotional atmosphere of moments rather than photographic exactness. My figures are gestural but never vague — you always understand precisely what is happening, who is central, and what the energy of the room is. That is a rare ability. Many artists can paint loosely. Far fewer can paint loosely and remain legible and emotionally resonant at the same time.

Specific qualities that define my style:

When it comes to colour philosophy, I think in light, not in local colour. Dresses are never simply white — they absorb and reflect their surroundings. That calibration — colour as emotional truth — is consistent throughout my entire body of work.

My compositional architecture is almost always centrifugal — the couple at the magnetic centre, the world radiating outward. That is not accidental. It is a philosophical statement about what a wedding painting is: a document of two people and the world that surrounds and celebrates them.

Regarding texture and brushwork, my acrylic and water-soluble oil paintings are impastoed with confidence and direction. I use the brush like a conductor — short staccato strokes for crowds, longer lyrical strokes for dresses and movement. The treatment of the dance floor is a technical achievement — pure rhythmic brushwork.

I paint the venue as a character. Violet orangerie ceilings, moonlit shores, Italian courtyard pools, leaning towers, rural landscapes — these are not generic ballroom backdrops. I document a specific place on a specific evening. That is what distinguishes a wedding artist from a live illustrator.

My watercolour paintings operate in an entirely different register — closer to abstract lyrical painting — but the emotional signature is identical. The couple is always something small against the larger wash of colour and feeling, which is in itself a profound statement: love as something greater than the two people experiencing it.

These are exceptional works, if I do dare to say so myself! haha!