What is it that we don't see when we see? To what extent do ghosts and learned frames of reference control how we systematize our sensory impressions and build our worldview? And how do we relate to the fact that our own worldview can differ radically from someone else's?
These are questions that Oskar Mörnerud returns to again and again in his artistry and which largely permeate his three most recent works, The decision-making body (2008), Jansson's temptation (2009) and Panorama/Midboy (2011).