Publikationer från Konstfack
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Metamorphosis; The Human Body in Transformation
No full textBased on what body adornment has been throughout history, this project investigates what it might be in the future. The possibilities, forms and methods of body adornment has changed and will continue to change over time, along with our societal and environmental shifts as well as with developments in science and technology. Our bodies are increasingly perceived as malleable objects that we can modify, enhance and improve. I use speculation as a method to explore how the human body may develop and be modified in the future. I envision a world where we have become increasingly intertwined with technologies, where environmental changes and our lifestyle have affected our biology, and where our bodies have continued to be altered based on social norms. Through this project I have become some kind of contemporary Frankenstein scientist, although I am not in a laboratory but in a jewellery workshop. My objects, which I call potential jewellery, or maybe-jewellery, are presented in an installation in the form of a clinical setting. It is a representation of where body adornment meets medical technology, where jewellery meets prostheses and implants. This project does not have any answers or a clear message about what is right or wrong – it is based on a curiosity without having a conclusion in mind. The installation is meant to be a reminder that our bodies are always adorned, modified and in transformation – that we are in an ongoing metamorphosis from one state to another.
PIECES : A sense of the past in a furniture for the future
No full textIn pieces I wanted to create a design solution inspired by traditional wooden furnitures. Furnitures, like the kitchen sofa with built in storage and a place to sleep or the lockable free-standing linen cabinet that held hand crafted treasures safe and clean inside. Furnitures that are large in size and can be hard to fit into smaller homes today but that holds a huge sentimental value to the owner and are often handed down through generations as heirlooms. So what if I could weave in a piece of my own family history into a design solution that can fit in smaller living spaces while still be an attractive choice for larger ones? Pieces resulted in two wooden cabinets that tell part of my family history through the repetitative, organic shapes that I have implemented into them. They are a tribute to my grandmother Aino and her three year younger sister Hanna and my way of symbolically reclaiming their right to the land, forests and lakes around their childhood home that the two sisters didn´t get to share with their siblings in the inheritance after my great grandparents. The methods I have used in my research are surveys, workshops, in-depth interviews and my own observations. Major design decisions have been based on the input from my research process with the goal to display two full scale cabinets at Konstfack's spring exhibition in May 2023
Stalking the Zone of Sentience : A Journey with Glass
No full textIn this writing, I guide the reader through different aspects of the emotional understanding and experiencing of art. The general purpose of the research is to argue that aesthetic experience is intertwined with various emotional stages. I attempt to decipher the meaning of an imagined or recreated nature (landscape and creatures) by other artists and then focus on my own realizations in creating it. To undertake this challenge, I aspire to understand the unconscious emotional connections of nature to humans, as well as the related notions of the uncanny and the corporeal. The methodology of the research is partly by finding evidence from the discipline of psychology and phenomenology, partly introspective and also process-based (technical) by focusing on the discipline of glass making. The paper’s main conclusions are embedded in my final work, which serve as an illustration as well as qualities of a craft-based research
Blurry Lines
No full textIn my artistic practice I have challenged myself with both the visual and the technical parts, letting playfulness and intuition stand in the centre for my working method. As time has gone by I have created a universe where I mix techniques and materials and challenge the norm of where an object starts or ends and also a crossover between genres. This is also the reason I have named the paper ”Blurry Lines”, because the lines between the materials and the genres are so vague.I began with the idea of transforming textiles into glass, and my work has evolved into a concept where the materials communicate and appear in unexpected combinations. My concept focuses on the inherent contradictions of glass, which is neither liquid nor solid but instead an amorphous solid that lies somewhere between those two states of matter. I am interested in exploring this idea of being in-between
Time dealer Wind veiler Trash hider Space divider : Reflections on performative aspects of painting
No full textIn this essay, I turn towards artistic experience in combination with related research on painting history to examine the material choices of my artistry. My choice of painting on a canvas torn by the weather causes the colour to fall off and shed, which actualizes the theme of working through bodily sensation as a way of seeing. Meditation is brought up as a comparative field, where ”Body eye” is coined as a term to describe how it is to paint in a “second breath” of perception. Through different aspects of expressionism, anti-form, impressionism, gutai, arte povera, romanticism, performance art, mono-ha, and body art, my aim is to get closer to some philosophical starting points related to material choices and methods. Through painterly experiences, the performative aspect is personally and poetically exemplified in relation to the painting process. The capacity of the painting is explored in the failure and in the material limitations, both in the gesture of the hand (Amy Sillman) and the terminology that the canvas puts into play (Agnes Martin). In contrast, the Unhistorically feeling, the Willful forgetfulness (Friedrich Nietzsche), and the Limitless darkness (Rainer Maria Rilke) is brought up to reflect the experience of the painting as something continuously expanding
Skimmer, trassel, djupt, mörkt, blött
No full textShimmer, Tangle, Deep, Dark, Wet is an exploration of the possibilities of the publication, the underwater world, editorial work and an investigation in different materials. The work includes among other things, a professional mermaid, a marine geologist, three underwater rugby players, and a poem about the waves in the Persian Gulf.Skimmer, trassel, djupt, mörkt, blött är ett utforskande av publikationens möjligheter, världen under vatten, redaktionellt arbete och ett experimenterande med olika material. Arbetet innehåller bland annat en professionell sjöjungfru, en maringeolog, tre undervattensrugbyspelare och en dikt om vågorna i persiska viken
revealing objects
No full textThrough translations and transformations, my degree project aims to explore what makes something – space, or an object– charged. I am investigating ways to create objects with the starting point in two pieces of furniture, analyzing them both in their everyday contexts, and in certain works of art. This has resulted in the creation of two works that I have called an imprint and a bench and a bed. The quality that I have been searching for in this project is what activates a subjective feeling of recognition that will stay in the mind of the beholder, a charge in an object that affects memory or consciousness. The way I explore this quality is by analyzing the terms Eros and punctum and by investigating the relationship between the abstract and the figurative, examining the bodily connection to the objects and the surrounding.