Troels Steenholdt Heiredal
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theiredal.bsky.social
Troels Steenholdt Heiredal
@theiredal.bsky.social
40 followers 76 following 63 posts
Autistic & neuroqueer Artist and Architect
for more see: https://www.troelsheiredal.com/links
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theiredal.bsky.social
I'm very excited about turning a shipping container into a multi lens camera obscura for this year's Kaohsiung Museum of Fine Arts International Container Arts Festival.
Link in Bio for more.

#ContainerCamera #櫃相 #KMFA #AutisticPerception #ActuallyAutistic #ExperimentalPhotgraphy
Slide 01: Exterior rendering collage of the Container Camera at the site, showing a person in a wheelchair up the entrance ramp, photographing the narrative mounted exteriorly explaining what the space is like. In the background Kaohsiung Music Center. Slide 02: The interior is a mixture of contemporary, clean-cut wood elements and the raw container walls, allowing for both the rough and refined to coexist. Slide 03: Container Camera reaches out to the city of Kaohsiung. A fragmented map of Kaohsiung’s harbor area, on top of which the container camera stands in the center. From it, three triangles extend, showing the areas that will be visible from within the container camera. Slide 04: A digital drawing of the plan, around it are the six views that will be visible inside the container camera, based on the estimated location at the site. The views will be overlapped and mixed through the different lenses.
October 20, 2025 at 2:33 PM
theiredal.bsky.social
Grateful to be included in the Ostrale Biennale ‘Never Grey’
Sky Constellation I & IV are part of my work exploring Autistic perception within my experimental film photography.

Installation photos by Ostrale

#AutisticPerception #ActuallyAutistic #ExperimentalPhotography #120mm #MultipleExposure
Slide 01: Photo from the biennale, the two square works, each a composition of four distinct exposures of geometrical figures, in different shades of blue on a black background. The two works are hanging on a white wall to the right; the space opens into another room with gray walls where a person is seen from the back. Slide 03: Sky Constellation I, four distinct exposures in shades of blue, a large faded circle holding a smaller bright almost white circle, which is penetrated by a triangle pointing left, with the two corners above each other on the right side, just touching the edge of the large circle, on the back of the triangle is a long thin rectangle taking up almost the entire vertical space with its outside edge being a tangent to the large circle. Below is a poem translated to German and in the original English which reads: and I actually still don’t \ quite know what I did \ or why I did it \ I could feel it \ I knew I would do it \ I had to do it \ but what it was / I was doing \ I wasn’t sure \ I guess I was looking for something \ besides me Slide 04: Sky Constellation IV, four distinct exposures in shades of blue, an large square separated into two different shades, where its edges slight miss aligned, holds a smaller darker square inside at the bottom, which is again subdivided into two rectangle darker and light blue, by a larger rectangle, which also subdivides the large square into two, a left and right side, only the color difference is less, behind it all is a standing up right trapezoid, all on a black background. Below is a poem translated to German and in the original English which reads: I realized that I had things \ in my head \ not like what I had seen \ shapes and ideas so familiar to me \ to me to put them down interested \ to put away everything \ and to start to say the things that were my own \ no one around to look at what I was doing no one \ no one to say anything about it \ or another \ and singularly free \ working on my own \ unknown Found Poetry | Georgia O’Keeffe | Some memories of Drawings, 1974 Slide 05: Installation view, strong horizontal lines above head are enhanced by lights, on the left side a blue wall with a an artwork in an orange frame, in the middle a few white walls, where Sky Constellation I & IV are hanging and to the right grey walls with a horizontal art work taking up most of the space, suspended by wires from the ceiling.
October 5, 2025 at 12:10 PM
theiredal.bsky.social
Reading my poem Like Zooming published earlier this year by @wishbonewords.bsky.social

#ActuallyAutistic #AutisticPoetry #Poetry #LoudReading
August 30, 2025 at 8:03 AM
theiredal.bsky.social
Strip Constellation I - made while driving down the strip in Las Vegas to capture the absolute overstimulation of your senses. @lensculture.bsky.social Street Photography Awards Submission

#ExperimentalPhotography #MultipleExposure #120mm #AutisticPerception #LensCulture
A slightly portrait multiple exposure photograph on a black background. The photo shows scenes from the Las Vegas Strip, with cars merging from the different exposures in the middle ground, behind them are different buildings including The Venitian (the sign is visible to the left) and the replica Marcus Tower to the right, faded by the over lapping sky the dominates the top right corner, where a couple of construction cranes are also seen, the bottom is at first glance a mixture of road ways and a clear shadow from a curved sidewalk fence, here are then two larger figures suddenly seen in the center, leading your eyes to see more smaller people mixed in with the cars in the middle ground
July 31, 2025 at 5:54 AM
theiredal.bsky.social
Diagrams of my #process for making the 'Down The Street' #ExperimentalPhotography project using an #AutisticPerception to 'roll' up the street, producing a new view of the city, showing how different parts are interconnected. #ActuallyAutistic #35mm
Photo of the continuous 35mm negative filmstrip. Given the difficulties of starting the film from the same point, for each of the four exposures of the entire film, the final frames are overlapping. A cutout of the island of Manhattan rotated to make the avenue grid parallel to the horizon, placed on top of large letters spelling Manhattan. 3rd Avenue is highlighted in white and boxed by an orange dashed box, which is dublicated below made bigger so show a section of the cross streets, starting, not at the beginning of 3rd Ave, but at E15 Street and counting up to E125. Above a diagram of 3rd Ave, on the top shows how the first exposure of the film (35mm) was from E15 to E42 Street, the second E43 to E70, the third E71 to E97, the fourth E98 to E125. Below are four examples of the view at the cross streets. All are seen from 3rd Ave looking East down the middle of the street. In the corner of the photos, the street number is indicated. The photos are screenshots from Google Earth, from 2014, the year this project was done. Diagram showing when you stand in the middle looking down the street, the typical layout will dictate that there will be buildings on either side, the street as a wedge below and the sky as on above, all meeting in the empty perspective point in the center. Above a diagrammatic layout of buildings, street, and sky, with small local adjustments fits more or less all the streets, making each photo similar in conceptual composition. Diagram showing how the section of 3rd Ave is divided into the four exposure zones, then rolled around each other. This corresponds to the camera being landscape for exposure one, portrait (turned left) for exposure two, landscape (upside-down) for exposure three, porrait (turned right) for exposure four. Above a diagram showing the orientation of the camera during the 4 exposure zones, below the camera is an example of the street view, with framing shown in dashed lines, pulled out below. The photos shown as they appear on the film in the camera. Over a diagram showing that turning the camera 90 degrees between each exposure of the roll, will turn this conceptual view of the street around the center of the photograph.
July 24, 2025 at 9:31 AM
theiredal.bsky.social
I'm still trying to best rearrange this collage of 20 individually exposed 8x10 inch #SilverGelatin. Exposed one by one over a period of 4-5 hrs, done in a multi-lense #CameraObscura and #darkroom. #AutisticPerception #ActuallyAutistic #Analog
A collage a 20 individually exposed silver gelatines, in black and white negative. The collage is irregular as the papers don't make a perfect square, a mixture of the view down the street and across the street is shown. Down the street you see running facades, fire escapes, and a few signs (Eco an italian restaurant and Mudville a craft beer pub) and across the street the facade of DC 37 Health Center, with greek columns, and a gated facade. The work was done by Troels Steenholdt Heiredal in 2014.
July 18, 2025 at 11:14 AM
theiredal.bsky.social
Excerpt from NOT JUST INCLUDED—EMBEDDED reading the informal architectures of Taipei through a disability lens asking what we all can learn from a communal diverse approach to space making.
Full film: link in bio.

#ActuallyAutistic #DisabilityArchitecture #ShortFilm #MultipleExposue #Architecture
June 19, 2025 at 2:51 PM
theiredal.bsky.social
Reading my poem slightly which I’m thrilled to have included in ‪@frazzledlit.bsky.social‬ latest issue. Please consider reading the entire magazine.

#dyslexic #ActuallyAutistic #Poetry #LoudReading #AutisticPoet
June 15, 2025 at 5:27 PM
theiredal.bsky.social
In 2014 I was invited to fill out Front Art Space on Chambers Street in Lower Manhattan. I built my first multi lensed camera obscura as the center piece for the show MERT: Multiple Exposure in Real Time.

#SilverGelatin #MultipleExposure #CameraObscura #Analog #ActuallyAutistic
2pc. 8x10 inch portrait top over bottom inverted black and white silver gelatin; the right side is a dark shadow, a couple of light rings at the bottom makes it read as a column, the left side is a chaotic mix of light and shadow, which reads as a tight alley, thought it is a mixed view of Chambers Street. 8x10 inch portrait inverted black and white silver gelatin, three strips of facade is visible, the centred facade is seen at an angle, while the two next to it are front facing, over this composition are some horizontal shadow lines and a lighter large grid pattern. 8x10 inch portrait inverted black and white silver gelatin: the scene is bright, a fire hydrant and metal railing which should be solid and straight are wavy as if seen through water, everything is in movement. The paper crumbled while being exposed, and flattened after, creating this effect. 11x14 inch portrait inverted black and white silver gelatin; a shadow sits in the center and lower part of the image is the first thing you’ll see, then notice that a child like drawing of a face is scratched into the surface of the paper, after seen this you can read the shadow as a vague portrait showing just more than half a face.
June 12, 2025 at 2:30 PM
theiredal.bsky.social
My poem Arriving from the latest beautiful issue from @wishbonewords.bsky.social, please consider supporting this gentle magazine which amplifies voice too often left out.

#ActuallyAutistic #DisabilityPoetry #Poetry #LoudReading
June 8, 2025 at 10:17 AM
theiredal.bsky.social
To me there’s something almost straightforward about a multi lensed camera obscura, but I realize that they are likely unfamiliar to most; so allow me to show a bit of the process here, using the camera obscura at the center of the exhibition How Do We Project. The camera operates similar to a...
A diagram showing how the images from the outside, as seen through the window frames in the space, gets projected into the camera space, and is visible upside down.
June 5, 2025 at 2:24 PM
theiredal.bsky.social
Reading my poem un-Locked which I’m privileged to have included in @vallummag.bsky.social‬ first chapbook edition of ‘Poems from the Crowd’

The layout of the poem opens towards non-linear reading, which is why I’m reading parts of the poem twice, see the layout at the end of the video…
May 31, 2025 at 8:41 AM
theiredal.bsky.social
Working with my Hasselblad 500C/M I noticed a tiny sliver of space inside the camera, between the back of the camera body and the detachable film case. So I started to make little cardboard squares that had different shapes cut out from them, a circle, a square, a trapezoid, and so on...
Photo of the developed 120mm film negative, showing that the three exposures are mixed directly on the film, not done in photoshop or other editing programs. A Hasselblad 500C/M with the film-holder deattached. In front are four square cardboard pieces with different shapes cutout in them, and behind them is a stack of more cardboard cutouts. Dashed lines show how the cardboard cutout fits on the back of the camera body and another set of dashed lines shows how the film-holder fits over the cutouts. This leaves the cardboard cutout right in front of the film during the exposure, masking out the film and allowing only the cutout shape to be exposed. And a plan of New York City and an excerpt of the area between Brooklyn and Queens, where Grand St and Metropolitan Ave crosses at the end of Newtown Creek. Diagram showing the location and masking of the film of each of the three photos that make up the final composition. The final developed multiple exposed photo work, showing the three overlapping exposures. Each exposure is of the industrial area around the end of Newtown Creek, New York City.
May 29, 2025 at 10:51 AM
theiredal.bsky.social
Grateful to have three poems in @wishbonewords.bsky.social issue 15. Here’s a reading of one of them: ‘Like drawing a hand or Dyslexia and how i see words as space’

For more and to read all the other beautiful contributions visit Wishbone.

#Dyslexic #Poem #LoudReading #ActuallyAutistic
May 24, 2025 at 5:44 AM
theiredal.bsky.social
Honored to have my poem ‘mirror’ in @anmlymag.bsky.social issue 40. The layout of them poems opens to non-linear reading, giving you the reader multiple ways of reading it. Here is one way, visit anmly.org to hear me read another way.

#ActuallyAutistic #Poetry #LoudReading #DisabilityPoetry
May 18, 2025 at 12:16 PM
theiredal.bsky.social
This is me, on my couch, reading the new wonderful @mekongreview.com where the centerfold is my exhibition review of "Shifting Horizons: The Generation of Emancipatory Architecture in Taiwan" at JUT museum Aug 2024 - Jan 2025

📸 @panthealee.bsky.social

#Exhibition #Review #Architecture #Criticism
A white man sitting on a light green couch, in dark pants and t-shirt reading a paper, behind him is a white wall and the his left pants in front of a window looking out onto a tree. Close up of an article in the paper, with some plants sticking up behind it. The title of the pieces is: “Architecture in context” by Troels Steenholdt Heiredal below it is a photo from the exhibition, showing old photos and newspaper articles on a red lit background. Photo from above of the left side of the center spread of the article, laying on a dark wood table. The article has three photos between the text. Photo of the top of the cover of the paper reading Mekong Review, in the background there are some plants sticking up.
May 15, 2025 at 9:35 AM
theiredal.bsky.social
Excerpt from my short film from the interior of the multi lensed camera obscura for the show "How Do We Project" At The Clemente. 

The multi lensed camera obscura is an attempt at constructing my Autistic perception as a spatial situation for others to inhabit.

A collaboration with Pedro Wainer
May 8, 2025 at 11:34 PM
theiredal.bsky.social
Through my Autistic perception, I’m exploring the informal architectures of Taipei, Taiwan, seeing them as a representation of an Autistic Architectural Approach, which calls for disabled people to be—not just included—embedded.
April 24, 2025 at 2:27 PM
theiredal.bsky.social
Reading my poem “For Nick Walker” recently published by @frazzledlit.bsky.social

The title is a small thank you to @dr-nicky.bsky.social for introducing me to the term and act of neuroqueering in the amazing book Neuroqueer Heresies.
April 21, 2025 at 6:22 AM
theiredal.bsky.social
Studying chinese, and it’s incredible pictorial depiction opens completely new ways of understanding our ways of taking in the world, allows us to read in a much more open way, for me there’s a relation to neurodiversity, to the ability to take in the world in multiple facets.
Black on white hand painted Chinese character kàn in English translates to “to look at”. Black on white hand painted Chinese character shǒu which in English translates to “hand” Black on white hand painted Chinese character mù which in English translates to “eye” A diagram showing how the Chinese character kàn (English: to look at) is a combination of the two character shǒu (English: hand) and mù (English: eye); all hand painted. Below is a text in italics, reading: to look at something is a haptic experience It is the touch of the eye It does bring into question What I was always a told as a kid (In bold non italic) You don’t see with your hands
April 10, 2025 at 4:31 AM
theiredal.bsky.social
When I’m building my large multi-lensed camera obscura’s I include a small darkroom to produce unique silver gelatin prints. Link in bio for more.

I explored exposures of the space and the rooftops, while experimenting with ways of embedding my poetry.

Made in 2022 @theclemente.bsky.social
Inverted black and white silver gelatin, excerpt. Centered to the bottom is the back of a floodlight rendered light gray contrasted on the black background, standing on an open cabinet with pipes and a radiator visible. Inverted black and white silver gelatin, multiple exposures, portrait 8x12 inches. Different elements overlap in the photo to create the composition. The photo is muted in tone and the top and right are almost entirely black. Coming through the darkness you can see a rooftop scene of mixed scaffolding, the parapet of the building is brick, and given the multiple exposures visible at different scales. Over it all are light small pane window frames and a poem placed in a non-linear composition, its exposure is soft and therefore difficult to read: where does the city end / and I begin / WE merge / it’s a reflection of ME / as I am of it / the city / exists in me as I in it / it is also a part of nature / not apart from it Inverted black and white silver gelatin, multiple exposures, portrait 11x14 inches. The first impression is a chaotic collage of discrete elements, with three wide white bars cutting horizontally across the photo in the top bottom, and center. They organize a series of darker squares, which can be read to be window panes, through them a rooftop scene and a contemporary modular facade are visible, some parts are at a different scale and overlap the center white band suggesting they’re from another exposure. Watery running marks and fuzzy black/gray static are scattered throughout the image, making it vibrate in the visual field. At the bottom two tape marks are seen, from which a transparent sheet can be traced, it holds words of a poem with some parts almost illegible. at the bottom a word has been scratched into the paper upside down, it reads unfold and is underlined suggesting it’s the poem title. The poem is arranged into a shape the first four lines are aligned left then giving way to a few one-word lines aligned to the last line’s right edge and thicking in line length at the bottom again, moving between left and right alignment. The poem reads: to write myself closer / to me / unfolding / rather than describing / trust / what / words / arrives / see them / for what they are / messages send from within / yourself to yourself / listen to what you’re trying / to tell / rather than expecting that you already know Three inverted black and white silver gelatins, composed in a circular movement around a joint center each 8x12 inches. The three photos have tape marks at two of their edges, indicating that they were all taped together into a three-dimensional composition during the exposure. The scene therefore is quite distorted in each of the photos. One photo shows scaffolding, over two large white swatches, the photo left of it, has a small section of scaffolding but then renders into three fields, black, medium gray, and light gray, the last photo below the two first has two gray fields, the window panes through the top one some graffiti marks are present and the bottom has rows of bricks. Each photo has a few lines of writing scratched into the surface prior to the exposure, reading: (photo 1) sometime / this thing / that is me / inside of me / just disappears (photo 2) and Im left / floating / not really understanding / what is up / down (photo 3) just trying / to / keep / breathing / how it hopefully / will bring me back / to myself
March 27, 2025 at 11:15 AM
theiredal.bsky.social
I’m delighted that @frazzledlit.bsky.social has published two of my poems, For Nick Walker & Slightly, in their just launched second issue. It’s a beautiful magazine, full of incredible words constellations.

#frazzledlit #issue2 #springwarmer #AutisticPoetry #Poetry #Dyslexia
screenshot from Frazzled Lit online magazine. From the top down it reads in black letters: Frazzled Lit / Spring Warmer / Two Poems by Troels Steenholdt Heiredal. Below this is a color photograph in green tones, large trees in shadows on mountainsides surrounding a series of overgrown man made terraces in the center, lit up by the sun. Pisac Planters, 35mm color photo, 2024, Peru. By Troels Steenholdt Heiredal The poems “For Nick Walker” in black letters on a white background.
March 16, 2025 at 10:16 AM
theiredal.bsky.social
The Aarhus Drawing. 10 years ago, I sat down at my desk for 2 weeks, drawing out what the city of Aarhus looked like in my head, drawing the plan of my Aarhus, how I see it in my body-mind’s eye—we all carry our own inner geography of the places we inhabit. See link in bio for more.
Digital collage of The Aarhus Drawing, a plan drawing in pencil and brushed on crushed black pigment. The hard black shapes on a white background indicate buildings I know are there. When I’m less sure, the edge and coloring soften. This makes the drawing both firm and readable and fuzzy, unstable, in motion, at the same time. The drawing is sprawling out over 48 sheets of A2 paper, is fragmented and incomplete. The combined drawing measure approx. 3.5x5.5 meters A close up detail of the map; pencil and brushed on dry pigment. A mostly black and gray cloud, cut through by a network of white roads and a few sprinkled individual sharp black building forms and white courtyards. A close up detail of the map; pencil and brushed on dry pigment. There’s a collection of buildings all with hard edges along a road running vertically, but most backs or inner courtyard fade out into cloudlike gray blobs.
March 15, 2025 at 2:42 AM
theiredal.bsky.social
Autistic Architectural Approach is an essay I wrote for PLAT 13, exploring a critical lens of disability within architecture.

www.troelsheiredal.com/aaaplat13
February 5, 2025 at 2:22 PM
theiredal.bsky.social
In developing the concept of an Autistic Architectural Approach, the Informal Architectures of Taipei is so far the best expression I have found in the build environment.

PLAT Journal will publish my first essay outlining the concept in late January.
January 13, 2025 at 9:41 AM