AK Dolven cultivates a curious relationship to nature. Filming dramatic landscapes and seascapes in her native Norway, the London-based artist has created films that depend on exceptional occurrences, from the year’s longest day (when the sun never sets) to the fog miraculously rising above a mountain where countless birds flock. Such scenes—however striking—serve as a duplicitous framework in which viewers are invited to watch not just nature but other people watching nature.

Take between two mornings, 2004, where four women—naked and bald—sit perched on rocks at the seashore and watch the