In the previous four or five years, the main character in Konrad Mehus' stories has been the figure KM, a figure with several external characteristics similar to the artist himself. The key word in this context is portrait. In brooches which have increasingly been characterized as independent mini-sculptures, he has explored what it means to create a self-portrait or to portray one's own life. What is the relationship between the artist and his work? What can a portrait actually convey? How interesting is an artist's biography for others? The conventional portrait is often beautified, outwardly polished, and engaged in some sort of "hero-ification". In addition, the self-portrait is very often self-indulgent. This is not the case, however, in the delivery of KM or of Konrad Mehus himself. On the contrary. "My Navel", a three square brooch consisting of three navels embossed in silver, focuses on KM's navel in a personal and intimate way which goes beyond pure physical documentation. This is sufficiently more than an illustration of a biological fragment of KM's life. On a metaphorical level, "My Navel" can be read as an ironic commentary on all "navel contemplation" in art generally, but especially in the genre of autobiography. These brooches give the clear message: This is not about expressionistic art with attention focused solely on the artist's own feelings and the artist's own life. Mehus' "delivery" is done with humour and warmth, but also with irony and personal distance. It is more about commenting on contemporary issues and trends than about personal delivery. Therefore, the brooches based on the casting of medicine boxes which, on closer inspection, reveal themselves to have been prescribed to Mehus himself can be presented as "Norwegian general medicine". Mogadon, valium, sobril, and anabolic steroids are medications which he is not alone in taking; as such, they testify to the widespread problem of anxiety and insomnia within the society at large. These brooches indicate that the individual is not just unique and individual, but also written by the history and culture of which he/she is a part. Or, as expressed by the classic feminist slogan: The personal is the political.

To employ a precious metal such as silver for such a banal motif as the Coca-Cola bottle cap, the navel, and the medicine package is unusual. Furthermore, to tell about oneself in silver is no less unusual for an artistic jeweller. It is in this way, however, that Konrad Mehus connects art and "the everyday" and art and life; ties which become further strengthened by jewellery which can be worn despite the idea that the function of the jewellery, as previously mentioned, is subordinate to the subliminal artistic idea and expression. The user plays an important role through the active dissemination and exhibition of the jewellery and their stories in a variety of social contexts. By restricting himself to the creation of jewellery, Konrad Mehus shows that there can still be something more to art "than (just) to sit on your assin a museum", to cite the pop artist Claes Oldenburg.