The Royal Institute of Art
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Essä : Drömmar / personligt - privat / misslyckande = Frihet
No full textEssay about Dreams / personal - private / Failure = freedo
De första dagarna var magiskt stilla
No full textIn this essay I reflect on what my artistic practice is about. I explore aspects of space through painting and sculpture in my work. The motifs I keep returning to are architectural elements and objects of everyday life, details or places in the home or the urban environment. Regardless of the motif, I am looking for objects that give a sensation of being in interstitial spaces. I am searching for a pause and a certain stillness, but at the same time, I aim for my works to be vibrant and full of life. It is this meeting point of stillness and vibrance that I am looking for. The essay consists of several parts in which I reflect on my work and work process, starting with the idea of "genius loci", the atmosphere of a place. I thereafter write about the choices I make in scale, color, material and spatial qualities. I also give examples of a few artists that have inspired me and that have been of importance to my practice. Finally I put forth some reflections on the daily work in the studio in a logbook
An Interview – or an Exercise in External Self-Reflection
No full textAs an exercise in self reflection, I created an AI version of myself using HuggingFace, an open source AI model, and conducted an interview with it about two manuscripts from my works
Remember the future?
No full textMy art is made of recycled materials, heavy with history and (lost) meaning even before they go through my process of processing, refining them. The unique qualities and backstories of each material not only create layers visually and aesthetically but also contribute to the ideas and narratives I present. The central concept in my work is what I call Postfuturism (not related to film history): the phenomena where our collective view of the future has drastically shifted from positive and hopeful to an increasingly dystopian and grim one. While human scientific and technological advancements are fulfilling and surpassing the Sci-Fi dreams of the past, escalating climate disasters, wars and economic draining of the working and middle classes leave us confused. ”The future isn’t happening - but soon you can live for 200 years?”. Psychologists don’t know how to help the inflating amounts of people with future dread, because the source of their emotional suffering isn’t just in their head. The younger generations feel robbed of the opportunities their ancestors had. Navigating mental illness always involved differentiating between environmental factors and that which comes from within, and because the mental health industry is just that - an industry that profits off its customers, the mentally unwell - now more than ever is the time to question our insanity and express our thoughts and feeling which is where art comes back into the picture. Notoriously one of the most effective forms of therapy, we need genuine, honest and emotional art now more than ever. My installations celebrates the healing properties of making through repetition and allowing fluctuating degrees of precision, thus performing as an act of disclosing the artist’s own healing journey and becoming an abstracted guide through the socioeconomical, geopolitical and personal causes for the unease that permeates my work.My solo show at Galleri Mejan, "Where The Living Envy The Dead", is a total installation using recycled materials (mainly textiles and paper). There are two aesthetically contrasting areas separated by a path - a red, detail dense installation reminiscent of torn flesh and a black and white, modern city like installation lit with UV light. The ceiling is lowered by draping textiles on thin lines above the visitors, crocheted celestial bodies creating a childlike imitation of the sky at night. The walls are unevenly painted, solid black in some places and finger painted buildings in others
Performance Studies : On Abundance
No full textPerformance Studies: On Abundance This will be a first experiment towards a practice of performance that is a practice of collective study too. The invitation is to gather in study around some of the notions and practices of abundance that appear in the film by Filipa Cesar and Diana McCarty “There Is Always Dance in Abundance”, which is currently showing at GfZK Leipzig. You are invited to join a study group that takes the form of a public performance as it attempts to use the performance setting and its specific modes of gathering attention to collectively sense and make sense of abundance. The study group will gather for 4 sessions over 2 days, on January 27th and 28th, the last of these sessions will be open to the public. During the sessions we will devise the score for the performance, which will be participatory, improvised and shifting transversally across different registers and forms of engagement. I am interested in performance as the plotting of attention: whether you are performing or watching someone else perform, what is literally moved and shaped, is attention. Be it gazes, gestures, scores, intentions or mistakes, everything channels attention towards, or away from that which comes to be sensible, or not. Performances – understood both as discursive practices and as performative acts – rehearse and plot attention in specific ways that make some “bodies” come to matter, while others not. They are an ongoing rehearsal of our gendered bodies, of our identities, of our relationships, of our institutions and beliefs. I want to experiment with and experience what other modes of coming together an artistic performance may offer, and how the usual arrangements of attention can be un-plotted. This experiment is part of an ongoing research which I call Studio Practice which experiments with ways of knowing, ways of sensing and making sense, that are collective and transversal, as they take in consideration and move through different levels of existence (emotional, intellectual, physical and spiritual). This research directly experiments with methodologies and tools that produce new knowledge and produce knowledge differently, or as I would rather say, with tools that gather us in study. I consider the studio not only as the place wherein to study, but as the place that makes study possible through its very specific conditions. In this new experiment “performance” will be our studio, and you are invited to join
Sculpting with SARA (Spatial Augmented Reality Assistance)
No full textWe explored how spatial augmented reality can assist sculpting in the physicalspace based on a digital 3D-model. As a result of our findings we propose asetup of software and hardware as well as methods to use these (SARA), thatcan visually guide an artist in the work of manual transfer of digital to physicalthree-dimensional form. As a tool SARA could be used much more loosely; therelationship between a digital 3D sketch and a finished sculpture canconceptually be thought of as similar to a rough underdrawing and a finished oilpainting. In this case, the 3d sketch is there as an initial idea and a guide, but notas a ground truth. Beyond the scope of this project, SARA could be furtherexplored in relation to artistic questions. In practical terms, SARA works in thefollowing way: The colors projected during sculpting indicate how much thedistance deviates from the digital sketch in relation to the projector. The colorsare updated in real-time, as a 3D depth camera is continuously scanning theworking space.Vi har undersökt hur rumslig förstärkt verklighet (spatial augmented reality) kananvändas som hjälpmedel för att skulptera i det fysiska rummet, utifrån endigital 3D-modell. Vi presenterar mjukvara och hårdvara som visuellt kanvägleda en konstnär i arbetet med manuell överföring av digital till fysisktredimensionell form, samt metoder för att använda dessa (SARA). Som verktygkan SARA tillämpas mer fritt; förhållandet mellan en digital 3D-skiss och enfärdig skulptur kan konceptuellt betraktas som förhållandet mellan en skiss påduken och den färdiga oljemålningen. 3d-skissen finns där som en första idé ochen vägledning, men inte som en absolut sanning. SARA skulle kunna utforskasytterligare i förhållande till konstnärliga frågor som inte omfattas av dettaprojekt.Rent praktiskt fungerar SARA på följande sätt: De färger som projicerasanger hur mycket avståndet avviker från den digitala skissen i förhållande tillprojektorn. Färgerna uppdateras i realtid, eftersom en 3D-kamera kontinuerligtskannar arbetsområde
TIME TELLER
No full textIn this essay I want to share some of the concepts and literary references that I collected my carrier bag over the years. In doing so, I hope to establish where my artistic practice finds resonance and has grown from. To come closer to my understanding of perception and imagination, I will let myself be guided by a phrase from the writer Octavia E. Butler: ”There is nothing new under the sun, but there are new suns”. A proposal to navigate from multiple centers, rather than the notion of an objective truth. I begin to discuss the hierarchy of the senses and its connection to how the world is organized. While doing so I will jumping fast between references from Trinh T. Minh-Ha and Laura Mulvey, as well as my own gathering of visual representations on my phone and connect it to Mark Fisher’s Capitalist Realism. With the help from Tina Campt, I will emphasize on a reading of images beyond a singular meaning. This approach will appear through out the essay and develop further into a listening inspired by Campt and Pauline Oliveros; to tune into one’s body and surrounding; to be guided by your senses, not by an expected idea of something. Like the straight arrow of time. Through the monologue of a character in Ursula K. Le Guin’s novel The Dispossessed, I will continue to elaborated on time in my artistic practice, like the co-existence of linear and circular time. This will be followed by a thought of interpretation as a listening field. A concept coined by Oliveros to describe how meaning is conditioned by our position within a force field. This is the crescendo to the finishing pages on my master project of a sound installation based on interpretations of a score. The score will be sung by an ensemble, based on Fred Moten’s definition of a changeable constellation, and at parts alter in duration and form depending on how the members of the ensemble organize their life or experience time. Echoed through out the essay is a quote from Edouard Glissant on utopia as a form of totality but without a pre-existing model, that is amplified in the end paragraphs with the significance of the input from the ensemble. By inviting other people to make sounds, I’m interested in the unpredictable elements of the interpretations; disturbing noises, dissonance. An attempt to fool myself to not follow my expectations
Ack väggen blev en passe-par-tout
No full textI denna essä formulerar jag mig kring mitt måleri och mitt behov av att definiera mötet mellan konstverk och betraktare. Jag försöker att närma mig mötet som tema genom att referera till andra konstnärer och författares begrepp, namn som till exempel Paul Celan, Vera Frisén, Wassily Kandinsky, John Stenborg och Ulf Linde. I essän finns också minnesbilder av möten med måleriet som kommit att påverka mig starkt under min uppväxt, med hjälp av dessa minnesbilder får jag nycklar till att se hur det påverkat det som kom att bli mitt konstnärskap idag. Min förhoppning är att kunna precisera vad detta möte är, kan vara, och slutligen, förstå varför jag klamrar mig fast vid det
Great Silence
No full textThe essay Stor Tystnad (Great Silence) was written during the production of my solo exhibition with the same name. Their common ground is their examination of time, as a concept and idea, and as an experience. The centerpiece of the exhibition was three slide projectors, running simultaneously next to each other, creating a loop of text and images. They speak of time, of man and nature, and of death. The essay is not an explanation or a continuation of this piece. It is a text that comments on my practice in general, including the artwork that it shares a name with. The subjects that the essay deals with can be listed as follows: time as a non-linear entity, time as a circle, time as something non-existing. The artistic process (correction: my artistic process) and the importance of the non-verbal aspects of art. Mindless creation as a way of thinking and art as experience and a way of reflection. Money and labour. Death.