Publikationer från Konstfack
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Places That Return : Om minnet, känslor och kreativitet
No full textI det här arbetet har jag haft som ambition att undersöka inspiration och kreativitet genom det mänskliga minnet som ett sätt att berika designprocessen. Genom att besöka platser som ofta återvänder till mig i minnet har jag ämnat designa möbler som fångar essensen av dessa platser. Jag har vänt mig inåt för att finna det som verkligen fångar platsen och låtit associationer och känslor leda mig framåt i strävan att besjäla objekten.
(Re)make stone
No full text(Re)make stone Minerals are separated and melted out of the ground at a tremendous rate. They are transformed to be everywhere in our everyday lives, in the buildings around you, in the food you eat, in the supplements and medicines you take and in the smartphone in your hand. For every mineral based artifact you see, there's an even bigger hole in the ground. I have mined the minerals from our surroundings: Manure, dyes, stainless steel, makeup, insulation, deodorant, pesticides, porcelain, preservatives, salt, anti-lump agents, concrete, silicon and more. I want to build a relationship and get to know, go from static products and materials and start mixing, burning, dissolving and merging. Let it react and become stone again. I hope my project can contribute to a broader understanding, new questions and discussions about what the minerals we have around us once were, are and can be
Garbage In, Garbage Out? : Exploring textile sculpture through refuse material
No full textThis paper examines the processes, materials, and influences of Karina Presttun, an artist who explores building abstract sculptures with twine made from second-hand fabrics. She discusses how her work aims to share emotions and visual experiences that do not translate well into text and how she has been inspired by fiber artists, basket makers, and music. She also reflects on the spiritual importance of craftsmanship, the risk of the academization of art, and using discarded materials to bring attention to the environmental impact of textile production. 4 images removed: Image 7. Patford, Gemma (design), DIY Rope Bowl [vessel made from hand-painted rope], 2013, https://collectivegen.com/2013/07/diy-rope-bowl/, accessed 21 February 2023.Direct image link: https://collectivegen.com/wp-content/uploads/2013/07/diy-rope-bowl-a-pair-and-a-spare-201-778x519.jpg---Image 19. Hopkins, Jan, Comtemplation, [sculpture made from agave leaves, yellow cedar bark & waxed linen], private collection, 2004, http://janhopkinsart.blogspot.com/p/fade-to-light-dimensions-19-12x14x9.html, accessed 21 February 2023.Direct image link: http://4.bp.blogspot.com/-oL_xzFstShg/UG9iiS-MNlI/AAAAAAAACIo/H_AgdTOeeQ0/s1600/contemplation_front_www.jpgImage 20. Grey, Alex, Dissectional Art for Tool’s Lateralus CD [ink on paper & acrylic on acetate], 2001, https://www.alexgrey.com/art/tool/dissectional-art-for-tools-lateralus-cd, accessed 21 February 2023.Direct image link: https://www.alexgrey.com/art-images/tool-dissectional-alex-grey-watermarked.jpg---Image 22. Jacobs, Ferne, Figure/Head, [object made from coiled and twined waxed linen thread], 2020, https://www.craftinamerica.org/blog/building-the-essentials-ferne-jacobs-4-2-2022-6-18-2022/, accessed 21 February 2Direct image link: https://www.craftinamerica.org/wp-content/uploads/2022/04/IMG_5016edit.jpg</p
Drakarv - Farfar och jag : Ett examensarbete om minne och identitet inspirerat av gotländska material- och hantverkshistoria gestaltat i möbelformgivning
No full textI mitt examensarbete inspireras jag av minnen, lokala platser och identitet för att aktivera historiska objekt samt använda historia som lokalt DNA inom möbelformgivning. Projektet har ett genomgående narrativ som undersöker och berättar min och farfars berättelse ur ett nostalgiskt och kritiskt perspektiv relaterat till ämnet hantverk och formgivning. Visionen är att ta vara på arkitektoniska kvalitéer och hantverkstekniker i befintliga objekt tillverkade av min farfar för att kunna utveckla, förstärka och översätta kvalitéerna till nytt formspråk med en avsikt för hållbar gestaltning. Materialitet och minnen kommer vara betydelsefulla för att belysa historia och hantverk. Designförslaget resulterar i en serie möbler som belyser hur man kan ta till vara på lokala material och historiska hantverkstekniker, samt hur formgivningen kan anpassas till materialet. Möblerna är en hommage till min farfar, inspirerade av gotländsk hantverk- och materialhistoria.
Care and Rest in the Master’s House
No full textI start by disclosing my position and intentions for this essay. I tell you that I need rest and borrow from Audre Lorde’s (she/her) essay on our inability to dismantle the master’s house with the master’s tools. I introduce Tricia Hersey’s (she/her) work that centers rest as a resistance tool. I then contemplate the overarching structure in which capitalism is itself embedded as an ever evolving organic system, by tracing Hersey’s grind culture to philosopher Byung-Chul Han’s (he/him) Burnout Society and juxtaposing their work with Silvia Federici’s (she/her) historical investigation on the “transition” from feudalism to capitalism. From an organic evolution point of view as opposed to a mechanic one, I re-imagine power as a part of a larger body which encompasses those it exploits as well. I then touch on how care, like rest, has the potential to undermine hegemonic power. I meditate on some of my own artistic processes and struggles within academia, and use my collaborative master’s degree project to reflect on community and collaboration as tools for survival and its potential to dismantle the master’s house. Finally, I briefly conclude this essay with a realization and a final act of self-care.Quiet Roo
An alternative way of thinking is called for
No full textWhat kind of times are these, when To talk about trees is almost a crime Because it implies silence about so many horrors? ― Bertolt Brecht I’ve always been engaged in questioning the notion of power, and my interest in thinking critically and questioning systems in our society was something I learnt as a child. I know that being born in Sweden as a child to political refugees from Iran, shaped my world and positioned how I view it. Our family dinner discussions and bedtime stories were often about revolution and human rights. My parents political engagement for freedom didn’t end when they came to Sweden. My baba have a book publishing company called Baran that he works with alongside his 9-5 job since 1991. At Baran, he publishes novels, short stories, essays and magazines by various exile Iranian writers and artists, with the freedom of speech as a focus. These texts and books are works that could never be published in Iran. During my childhood, Baba travelled across Europe to organize with other exile-Iranian authors, artists and publishers. Me and my sister would often join these trips. Even though the agenda was about a serious issue, it was always a great adventure to be able to see the world together with them. Growing up super close to this human rights movement, I early on learned that culture, literature and art carried a big responsibility. And that it could be dangerous to be an artist, mainly if you are living in a dictatorship, but also across different nations. The power of art is infinite, and it invites free thinking, imagining, reformulations and questioning. It helps you observe the world from many different angles. That is why I believe that art itself carries a potential for change. During my first year at the BFA program at Kostfack I wrote a short essay about Shakir Attiyah. He is one of my friend’s baba and also a well known artist in the community of Husby where I am from. I wrote about his story, because I couldn’t understand why he was excluded from the art field. It made me angry that he didn’t have the same chance or conditions as someone from the global north to fulfill his artistic carrier and dreams. It made me angry that his story wasn’t unique and that there are so many similar stories like his about exclusion. The essay I wrote was really short and only touched the questions I raised on the surface, so at the beginning of June this year, I decided that I wanted to investigate and research on his life. I first thought that the research would end up in a documentary or as a video essay. But it instead, it progressed into a short video piece. In this essay I present the background to my video piece, Imagined Possibilities, in relation to theory and research about artistic quality and the conditions of foreign-born artists in Sweden. Imagined Possibilities (4 min), is a piece based on Shakir Attiyah's life (him playing as himself), and is a play between facts and fiction. The video was my main piece during my BFA solo exhibition this year in September.
Design for unknown futures
No full textThe need for humanity to lessen its impact on the ecologies we’re a part of is becoming increasingly clear. While there are many technically advanced solutions in the makings, one of the most straightforward ones is to simply use the objects we surround ourselves with longer. We can make them more durable and repairable but what happens when the needs of the user changes? How can we really know what needs the future will bring? I’m searching for a design approach that embraces this unknown. A process where the designer doesn’t have to be the enlightened figure that knows everything in advance. Because if we accept the complexity of the social and ecological reality where our objects end up, we never can be. I want to make objects that can grow and change with the user. A fertile soil for future needs. I’ve used the design process of three different objects to develop these thoughts. An open ended loom for the weaver Vega Määttä Siltberg, a table made with designer Julie Amira that is disassemblable without tools, and lastly a piece of furniture that changes function without moving parts. The goal of this project is not to produce a solution to a specific problem or to create an object that communicates an idea as well as possible. Rather it’s the reverse. By the process of designing and building I’ve been able to explore the questions that my project is composed of. The thoughts expressed here come from this experience.
FoolsGold
No full textThis essay consists of a fragmental process and collection of different theories and inspirational hangups from different academics, artists and my own thoughts and memories from my childhood. The essay also consists of my own poetry and collection of words I have found describing for my own practice. My ambition is to understand why I have always been a sculptor. The research is mainly about my own relationship to Cathrene Malabous writing about destructive plasticity and how it's connected to the brain. What happens to a body and mind when you've been traumatized? And how do I connect that knowledge with my own artistic practice? The research also touches on questions relevant to our historical and contemporary society to think about when it comes to solutions for how to cure the image we have of bodies that suffer from mental illness
Brunnen, röken, vattnet : En historia om badandet som aktivitet med influenser från stilepoken allmoge
No full textI mitt examensarbete utforskar jag allmogestilen i Skåne och för samman den med nordisk badkultur. Allmogestilen utgör ett betydande kulturellt och designmässigt arv som riskerar att försvinna på grund av bristen på tillräcklig restaurering av allmogemöbler och till och med olaglig export. Med inspiration från nordisk badkultur där aktiviteter såsom kallbad, rökbastu och dricka brunn är centralt omtolkar jag det moderna spat. Den reducerade estetiken som i vanliga fall associeras till den här typen av rum ersätts med den kraftfullt ornamenterade allmogestilen. Allmoge kan vara både en lyxartikel och något vardagligt, beroende på hur det används och värderas. Syftet för mitt examensarbete är att belysa allmogestilen genom att använda dess stilistiska element som inspirationskällor och genom interiören berätta en historia, i sann allmogeanda.Dessutom utforskar jag allmogestilens och ornamentikens förmåga att kommunicera budskap och historia genom materiella objekt
Shapes of Decay : Narratives and Expressions From the Final Days of a Building
No full textThis thesis project revolves around the last days of an abandoned building in decay, facing demolition. It is situated in Värtahamnen, a harbor area in Stockholm. The area is the subject of a major urban planning project in the upcoming decade. In my project my aim is to contemplate this condition of of a building and how to approach and use the ephemerality of architecture and design in the creative process. By extracting different material behaviors caused by decay and exploring them experimentally, a diverse “buffet” of design concepts and methods are presented. The project also orbits around the subject of preservation, a topic commonly debated during interventions in the built heritage. Instead of taking a stand for or against the demolition of the building, the field of experimental preservation is used as a theoretical and methodological background in the design process, as a way to expand the scope on how to navigate and work artistically with preservation. In conclusion, this project tries to revise our perspective on the concept of decay as something destructive and instead suggest the creative potential in understanding it. It also contributes with reflections and speculations on how we can find new creative strategies for taking the whole lifespan of a design project into account already from the beginning