Here's my story:

I started collecting model kits as a kid, building all these classic monsters from the thirties made by the legendary plastic model kit company Aurora. I persued a music carreer when I left school imagined myself as a great rock star... Well, it didn't really turn out that way, but I had a good time and learned how to focus my creativity and go through with what I set up to do. I started collecting garage kits in the early nineties and started to play around with Super Sculpey. In 1993 I managed to put together a sculpture with much less trouble than I thought.

This sculpture was based on a low budget flic called Subspecies, portraying the evil vampire Radu. I figured "pick an obscure character and you don't have to be ashamed later for releasing it as a kit". Little did I know this character had a huge following and I kept selling it up until 2001. I teamed up with two friends, Mike Blank and Jocke Lindman to form Swede Creations in 1994. I sculpted a kit based on the Crow, and we went to the States for our first Chiller Theatre convention in April 1995. The kit was an instant success and I sold every copy within hours. I was baffeled. At this time I ran a movie memorabilia store in Stockholm, trying to convince people that garage kits are hot, but they just didn't catch on.

Meanwhile we started getting commisioned work from PR-companies, doing prototypes and special effects stuff. In 1997 I sold the store and went on persuing a career in commercial sculpting. We all went different ways, and I kept the name Swede Creations since I had became somewhat synonymous with the name. My kits went well, and I also had quite a few special effects jobs, mainly for Effektstudion in Stockholm, and I started getting commision jobs from other kit companies, such as GEOmetric designs and Amazing Figure Modeler.

In 2000, however I descided to start studying 3D and animation for two years to further evolve and to sort of tie up what I knew. I imagined sculpting being a clear advantage knowing when it came to digital modeling. Little did I know that animation was the path to go. Withing a few weeks I felt that this 3d-thing fits me like a glove, and I also realized I had a nack for animation. I also realized I had started really late in life and I really had to do a lot of work to be good enough to focus on animation. Well, things just fell in place. Right after school I got a position at a game company, where I worked as animator. It enabled me to use my new knowlege and to force myself to do quality animation on short deadlines.

Within a few months Fido film, who I had done my internship on and also helped out on a few freelance stuff earlier, called and said they wanted me as their lead animator. I jumped on it and has never looked back since. In 2003 we got the dream job to produce the first ever all digital character in a Swedish motion picture. It was a real dream job and I got to really summarize all my skills and experiences on this, doing designs, sculpting, R&D and of course, animation.

In 2004 I got an offer to work for Weta on Peter Jackson's King Kong and who am I to say no to an offer like that. I lived in Wellington for the most part of 2005 and had a blast unparallell to anything I've experienced so far.

The film industry in Sweden has really picked up after years of procrastinating and are actually doing effects nowadays, so 2006 and 2007 has been great for us. Many new and exciting projects. I was back in Sweden Just in time for the last leg of effects for the first Swedish Vampire film "Frostbiten" and we are currently doing effects for the drama "Kautokeino", the adaptation of the vampire bestseller "Låt den rätte komma in" (let the right one slip in) and a few other great project.

To be continued...