Possibly, Maybe is an exhibition of polychromatic, process-based objects made out of acrylic paint. Working with and against the limits of the material, the paint is systematically cast, peeled, and stretched colour by colour transforming it into three-dimensional hybrid forms. The working process I devise is predetermined and regulated, yet the element of chance is integral to the work due to material constraints. I explore the sculptural potential and plasticity of a material traditionally used for painting. While acrylic is a relatively new material, designed to be durable and long lasting, the forms I create out of acrylic paint are vulnerable to climate, gravity, and time and therefore counter plastic’s perceived resilience. Possibly, Maybe looks within the marginalized and the failed of our everyday, and uses these as aesthetic elements, which can constitute contemporary cultural potential. Through an engagement with the fallibility of plastic, with the hybridity of artistic practice, and the excess, opulence, and decay of the Baroque, my work plays with the paradoxes and relationships between the high and the low, pure and impure, precious and throw-away, which I find are all elements that exemplify our contemporary culture.

Possibly, Maybe is an exhibition of polychromatic, process-based objects made out of acrylic paint. Working with and against the limits of the material, the paint is systematically cast, peeled, and stretched colour by colour transforming it into three-dimensional hybrid forms. The working process I devise is predetermined and regulated, yet the element of chance is integral to the work due to material constraints. I explore the sculptural potential and plasticity of a material traditionally used for painting. While acrylic is a relatively new material, designed to be durable and long lasting, the forms I create out of acrylic paint are vulnerable to climate, gravity, and time and therefore counter plastic’s perceived resilience. Possibly, Maybe looks within the marginalized and the failed of our everyday, and uses these as aesthetic elements, which can constitute contemporary cultural potential. Through an engagement with the fallibility of plastic, with the hybridity of artistic practice, and the excess, opulence, and decay of the Baroque, my work plays with the paradoxes and relationships between the high and the low, pure and impure, precious and throw-away, which I find are all elements that exemplify our contemporary culture.

Purpose – The aim of the study is to investigate the possibilities for circular economy in acrylicplastic in the lighting industry. To answer the purpose, it was broken down into two researchquestions: [1] What characterizes the handling of acrylic plastic waste by lighting manufacturers? [2] How can lighting manufacturers achieve a more circular handling of acrylic plastic waste? Method – To be able to answer the research questions, a case study was conducted at acompany active in the lighting industry. The data collection consisted of observations,interviews, and document studies. The observations were unmasked and of a direct nature. Theinterviews that were held were both unstructured and semi-structured. The documents wereinvoices and quotations mostly collected from the case company. Furthermore, four differentsolutions were developed with help of the theoretical framework and collected data. The empiricand the theoretical chapters were compared to be able to analyse and answer the researchquestions. Findings – The study shows that a company in the lighting industry throw away plastic lensesas they believe that they have no use for them. The lenses are made of acrylic plastic and arethrown in combustible waste. The waste goes to energy recovery that provides electricity,district heating and district cooling. During the combustion process, carbon dioxide is releasedwhich affects the environment. It is better to let the waste go to energy recovery than landfilling.To achieve a more circular handling of acrylic plastic waste, it is recommended to first andforemost reduce the waste. It is the result of one of the solution proposals "Minimize worksteps" which involves a point effort to take advantage of acrylic plastic instead of throwing itaway. In situations where there is no possibility of reducing, companies should instead try toreuse the acrylic lenses, which is a result of the solution proposal "reuse". In 2024, there willopen a new chemical recycling centre in Sweden that companies should keep track of. Implications – The study has implications for companies in the lighting industry that useacrylic plastic. It is also suitable for companies outside the lighting industry that handle acrylicplastic waste, as the study contributes to increased knowledge about circular economy and howacrylic plastic waste should be handled to benefit the circular economy. The study helps tohighlight potential approaches for environmentally friendly handling of acrylic plastic. A newrecycling centre opens 2024 in Stenungsund, which is the first in Sweden that can chemicallyrecycle acrylic plastic. It is recommended to talk to them early to review costs and opportunitiesthat arise in connection with the opening of the recycling centre. Limitations – The environmental impact of the study is measured in carbon dioxideemissions. No other environmental aspects are considered as carbon dioxide includes the areasthat are relevant, based on the size of the study. Due to the time constraint, the study wasconducted on only one case company, which may lower credibility. More companies should bestudied in order to further generalize and strengthen credibility even more.