The Royal Institute of Art
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Meditationer på Efterobjektet : (Inre Skrik)
No full textAn exploration of objects and how their movement toward entropy shifts what they communicate to the viewer. The voices of physical objects and imaginary objects altered through artistic operation/narrative suggestions change pitch and give room for alternative meaning. Parallels are drawn between European intellectual traditions and eastern philosophies (particularly Zen/Chan Buddhism) in order to unpack frameworks that navigate postcolonial practices, internal contradictions, and unsolvable paradoxes.
Imagined Belonging : On historic uncertainty, estrangement and chimeric identity
No full textIn this essay, the artistic explorations of identity, belonging, memory and imagination are discussed from the premise of historic uncertainty. The question of why and how artists can engage in stories unknown or unexplainable to them is approached by drawing from personal experiences and reflections. As a framework, the contemplations in the essay are carried by consideration of the remarkable similarities between the legend of Odysseus and a story that I, the author, have been told about my own grandfather. Furthermore, ideas on power and the production of history (Trouillot, 1995), imaginary-based nostalgia and nationalism (De Brigard, 2020) and critical fabulation (Hartman, 2008) are presented. In conclusion, the concept of chimeric identity and ways to handle historic uncertainty as an artist are described
Practice as a place of refuge/ konstnärlig praktik som en tillflyktsort
No full textThe essay entails my relationship with traditional miniature painting and my practice that developed from confrontation to this traditional technique, to talk about tradition and the understanding of sexuality and politics through the relationship of desire and shame. Developing a process from binary opposition of painting to erasing and traditional to the unconventional, practice becomes a place of refuge and process becomes a way of understanding.
News from Home - Home is a Place Lost in Memory News from Home - Hemma är en plats förlorad i minnet
No full textA journey through a painting practice, accompanied by works of Birgitta Trotzig, Chantal Akerman and Tone Schunnesson. Searching for a long lost home, a place to linger in un-understanding, travelling through lost memories, looking at the world as if it was the first time.
Hitta Hem Bland Stjärnorna : Att förstå min erfarenhet som flykting genom science fiction
No full textThis essay delves into the author’s experience as a Ukrainian refugee in Sweden by exploring the part science fiction media plays in creating a safe space for processing the complicated mixture of homesickness, grief and nostalgia. It uses examples of science fiction films and series to highlight the genre’s unique characteristic and explains the usage of it in the author’s own artistic practice
Talking to a pebble : Reflections on materials and the spirit of places
No full textThis essay digests my connection to places, materials and my painting practice. It stablishes the link between the landscapes that exist only in memory. And the real places that I collect and that I carry with me, in the shape of a stone. Resulting in a new place that is created out of the two, the painting. I reflect on these topics in the form of a dialog. Sometimes internal, between me and myself. But other times this dialog involves the land, the material, the painting and me. It is an artistic choice to write this essay in a conversational and reflective form. But it is also an honest depiction of how I work in my studio and what goes inside my mind while painting or making pigments. This essay, and/or dialog that I am having while writing, helped me conclude the importance of working with a charged material in my practice. A material that is not less than it was before it became painting. The material transformed.In that way this essay states that for me a place is always a place, even when broken apart by chance or force or when transmuted by the alchemical processes of pigment making. But it also states that my paintings are places themselves, and not representations. And that an image comes to be a place, through what I describe as a ritual, and that is, the act of painting itself
The Vanishing Act : The Need to Transform Reality and Erase Identity
No full textThis essay examines illusion, identity, and artistic practice through my work as a magical performance artist. Inspired by figures like Houdini, it explores how personas and self-erasure blur reality and fiction. From childhood fascination to public performance, it reflects on the cost of disappearing into illusion—and whether re-emerging might be the greatest illusion
Tillstånd av nedstigande, utåtriktad och tillbakadragen rörelse : Genom symbolism upplöses subjektiviteten men blir mer hel än någonsin likt en krossad spegel, estetisk men oåterkallig
No full textThis essay challenges established perspectives in art through radical readings of perception – from the classical subject-object dichotomy to the dominance of central perspective, most celebrated during the Renaissance, where the human gaze claims possession of art. Early on, it interrogates the nature of visible reality and the conditions that can disrupt its coherence. The intention of the text was not to evaluate the translation between internal and external life and eliminate the role of the subject in making, but to reflect on its nature in art. Drawing on Pavel Florenskij's Russian Orthodox theories, the essay proposes a notion of symbolic transparency. Criticizing basic perceptual factors such as the fact that humans never see from one direction as two separate holes form the foundation of perception, the idea of a single real image is criticized, and instead Lacanian ideas of truth, truth as fiction and fiction as truth are presented. The text addresses the symbol, the descent, as a perspectivist idea. And with that paragraph, it introduces thoughts on communication and language with a semiotic element. The essay follows through some of my processes. This is accompanied by criticism and love for those who have worked in the past, respecting the Philosophy of Paradoxes (Florenskij), a basic approach to the essay is to let it appear as a mirror or more like shards. It was necessary to work with the text as a complementary layer, as a step in or a step out, and not from a preconceived idea. Who I think I am or what my art is for example. Instead, the essay emerges with a focus on experience and phenomena
Ghost Orchid : part I
No full textABSTRACT This text is an an extract from an ongoing project that is a result of notes, thoughts and research in relation to the art project Ghost Orchid. The essay is looking into ways of viewing nature as an erotic lesbian force without expectations of procreation, consumption or solving mysteries it’s rather a reflection on beauty, love, lust and loss. By looking at very different references the text is now in a cynical stage of the unknown, searching for how to actualize an idea into an artwork - in this case a film - ghostly situations plays out and therefor prolongs the materialization. Part II will examine the differences between sexing nature and taking part of its erotics. The importance of mourning the losses of nature in regards to lesbian history and the continuance of making the film Ghost Orchid.