Child, Video installation, Full HD, sound, sheets of aluminum mesh, steel tubes, fish wire, 2025.
Installation view Child, 110x100x400 cm (variable size), Video installation, Full HD, sound, sheets of aluminum mesh, steel tubes, fish wire, 2025 from the exhibition hold/ curated by Lisa Rosendahl, at Kunstnernes Hus, Oslo (Degree Show). Documentation by studio.abrakadabra.
Installation view Child.
Documentation by studio.abrakadabra.
Documentation by studio.abrakadabra.
Child is a moving light sculpture accompanied by a melody, combined with the sounds of a ticking clock. Through images organised in a stop motion like animation, a two-faced golem figure appears isolated against a black surrounding. The figure, trapped in an eternal repetitive loop of running forwards and backwards, is projected onto seven layers of thin aluminium mesh where parts of the image are inevitably lost. Their face, split in two, stems from 3D scans of the faces of the artist’s son and father, encapsulating the two in one body, seeking resemblance between generations.
The projection is repeated onto each layer, like possible worlds with possible lives, belonging to the past and the future. The translucent qualities of the materials making up the screens enhance the presence of the imperceptible; like a pattern you cannot escape; or trauma stored in muscle tissue; or a developing disease.
The projection is repeated onto each layer, like possible worlds with possible lives, belonging to the past and the future. The translucent qualities of the materials making up the screens enhance the presence of the imperceptible; like a pattern you cannot escape; or trauma stored in muscle tissue; or a developing disease.
Installation view echo looped looped echo, from the exhibition oh mother a face in the floor mother oh at Gallery K4, Oslo, 2025.
We see:
Two facing images of a two-faced golem creature; walking, sleeping,
pondering, crying, laughing by themselves in a sad looking cruise ship cabin, or in an abandoned shipway, somewhere unknown.
A woman, played by the artist, facing her double in the mirror of a dimly lit bedroom; wiping off a drawn-on smiley face, grimacing to the mirror and the camera, shouting without sound at the image of herself.
Two facing images of a two-faced golem creature; walking, sleeping,
pondering, crying, laughing by themselves in a sad looking cruise ship cabin, or in an abandoned shipway, somewhere unknown.
A woman, played by the artist, facing her double in the mirror of a dimly lit bedroom; wiping off a drawn-on smiley face, grimacing to the mirror and the camera, shouting without sound at the image of herself.
Installation view echo looped looped echo, 2025, Two channel video installation, Full HD / 4K, Stereo sound, 26:30 min, looped.
Installation view Doors (O), 2025, 29x44 cm, C-print (unique), from the exhibition oh mother a face in the floor mother oh at Gallery K4, Oslo, 2025.
Still from echo looped looped echo, 2025, Two channel video installation, Full HD / 4K, Stereo sound, 26:30 min, looped.
In her film echo looped looped echo Dragseth reflects upon heritage and addiction: as phenomenon; as disease; and as complex generational pattern, often related to people in vulnerable and precarious life trajectories. The film’s images shift between surreal, metaphorical images, handheld footage and sequences in which she and her father reads letters to each other. Dragseth proposes in the work that addiction is a source of an inward “twoness,” of two you’s battling. It is an experience of living with a split and fragmented self that can lead to egodystonic thoughts or behaviours, like dreams, compulsions, or desires that come into conflict with one’s ideal self. Mirroring, as motif and method is explored in various forms throughout the work.
The sound is composed of ambient music made with Marco Antão, and music from the album Crispy Light by Portuguese artist Adriana João. Animation is made with the Norwegian artist Tim Høibjerg. Letters are written and read with her father, Terje Dragseth.
In her film echo looped looped echo Dragseth reflects upon heritage and addiction: as phenomenon; as disease; and as complex generational pattern, often related to people in vulnerable and precarious life trajectories. The film’s images shift between surreal, metaphorical images, handheld footage and sequences in which she and her father reads letters to each other. Dragseth proposes in the work that addiction is a source of an inward “twoness,” of two you’s battling. It is an experience of living with a split and fragmented self that can lead to egodystonic thoughts or behaviours, like dreams, compulsions, or desires that come into conflict with one’s ideal self. Mirroring, as motif and method is explored in various forms throughout the work.
The sound is composed of ambient music made with Marco Antão, and music from the album Crispy Light by Portuguese artist Adriana João. Animation is made with the Norwegian artist Tim Høibjerg. Letters are written and read with her father, Terje Dragseth.
Installation view MARBLES at Pachinko, Oslo, by Sofie Amalie Andersen & Thyra Dragseth, 2024. From left: Marbles (I-IV), Full HD, 52.20 min, Marbles (Loop), Stereo sound, 50.24 min, Mirror, Mirrors, Vaiable dimensions (2024).
Stills from Marbles (I-IV), 2024, Full HD, 52.20 min.
Still from Marbles (I-IV), 2024, Full HD, 52.20 min.
Installation view Marbles at Ostra Practice, Lisbon, by Sofie Amalie Andersen & Thyra Dragseth, 2024. From left: Sink 21x14,8 cm and Tape 21x14,8 cm (2024) and Marbles I (Garden), 14:20 min, Full HD.
Installation view Marbles at Ostra Practice, Lisbon, by Sofie Amalie Andersen & Thyra Dragseth, 2024.
Installation view Marbles at Ostra Practice, Lisbon, by Sofie Amalie Andersen & Thyra Dragseth, 2024. 
Still from Loving Perception, 13:34 min, Full HD, Sound
Installation view Loving Perception, from My Mothers Flower Arrangements, Søgne Gamle Prestegård, Kristiansand.
Å ligge andføttes, 2023, video portrait of, and in collaboration with Ann Cathrin November Høbo, 23:59 min, 4K, Stereo. Original Music by Carmen Villain. Installation view from Søvn er Livets Sum, Kristiansand Kunsthall, photo by Tor Simen Ulstein.
Søvn er Livets Sum, 2023, video installation in collaboration with Ann Cathrin November Høibo. 03:05 min, HD. Installation view from Søvn er Livets Sum, Kristiansand Kunsthall, photo by Tor Simen Ulstein.
Como se um nervo cosesse todas as partes, 2021, Estufa Fria Lisboa. Site specific video and sound installation, 19:35 min. Film and montage by Thyra Dragseth, production by Maria Inês Roque, performance and creation by Daniel Matos, Fábio Nóbrega Vaz,Maria Inês Roque, Nuno Nolasco, Rita Duarte, Roxana Ionesco and sound by Miguel Tavares.
Supported by the Camera Municipal Lisboa, FES, Cultura, Estufa Fria de Lisboa, and IFICT.
Supported by the Camera Municipal Lisboa, FES, Cultura, Estufa Fria de Lisboa, and IFICT.
Installation view In Search of Dead(ly) Fires, 5 screen video projection with sound , installation view from Seilduken gallery, Oslo 2018.
Installation view In Search of Dead(ly) Fires,4 screen video projection with soundSol gallery,
Nexø Bornholm, Denmark 2019.
Nexø Bornholm, Denmark 2019.
Conflict Consumption, film, Casts in plaster and clay , installation view from Ila Pensionate, Oslo 2019.
The Cut Slaps, video, installation view from QB Gallery, Oslo, 2019. Right side: Tim Høibjerg.