Repeated Stories is an exploratory project in textile design where the aim is to explore the design of storytelling patterns addressed to children. More precisely, the work examines how patterns can be designed as a tool to encourage curiosity and creativity among children. The work is practice-based, building on concrete experiments with a workshop character, where combinations of textile material, colour, printing techniques and scale are explored. The primary motive for this work is to take advantage of textile design expertise in a social context, to find new areas for competence in making repeats and patterns, and how a social value can be added to patterns. The result is an installation of three hanging textiles, meant for a public space, such as waiting room in a hospital. The work proposes an alternative approach to surface patterns by adding storytelling and give the patterns both a communicative and decorative function.

This collection is an observation of the relationship between celebrity culture, fashion and the female form. Exploring how the modern fashion image is communicated to a wider audience through mass media. At the same the work aims to explore new ways of developing clothing from a starting point in figurative prints. The work explores the body as the new context of the celebrity image in order to display different perspectives of both image and body. This has been found through an interaction between print and body, the visual perception within the relationship of these and from a social point of view. The work displays thoughts regarding perspectives on body ideals, female stereotypes, fashion, clothing, mass media and fame in today’s society. The bodies of celebrities are seen as walking billboards and advertisement for designers, the work questions this adopted culture by highlighting the phenomenon. While the work is a comment on the ridiculousness within the mass media and celebrity worship, it is also a homage to these women who have put a mark in fashion history. The final result could be seen as a series examples of possible outcomes from working with the image in relation to body. But also as a statement on how the current state of fashion, where new ideas seem less important as who is wearing what.

My art is about journeys, mapping, and layering. Two archetypal images in my work are the camel and the desert. Much of this imagery was inspired by my personal journey over the Sahara and into Western Africa. On another level, this journey connects to my metaphorical journey through life. As a printmaker, my art is very process oriented. Printmaking itself can be thought of as a kind of journey. My trip or the process is more important than the destination or the final result. Like the desert, my images are constantly shifting and transforming through the process of working. Printmaking with its alchemical overtones, layering, and unique surface qualities becomes a natural extension of my imagery.

This thesis focuses on space, the in-between-ness that exists amidst mental and physical experience. Pith explains personal attachments and rooting systems. The thesis continues with Blessing, narrating love then loss, and finishes with a recipe for making a tomato sandwich. Blessing is followed by Materialize, a collective view of cyclical learning and meandering paths. Finally, the paper concludes with a quirky Women and Swarovski encrusted skulls, which matter-of-factly lists artists (all of whom happen to be women) whose works I find particularly compelling; and also notes on general trends in art I find interesting in a much less obvious manner. The artwork in Lucidity attempts to manifest an ephemeral, mental space with clarity, light, and shades of white. Both the artwork and the written component have been heavily influenced by my own affirmations of elation, loss, and contentment.

This project is dealing with the human body and surgical modifications. I am wondering how to achieve the aim of provoking compassion, rejection and attraction in one collection. I would like to deeply move the sensation of your own body by showing deformed and reconstructed bodies.Cut off body parts and re-sew them somewhere else…I want to show something that is considered to be disgusting in a context where you would not expect to meet it.Furthermore, I would like to show that anything that looks normal disgusts you in an abnormal size or position.I want people to discover such elements at a second glance and I chose this theme also in order to provoke myself. I was wondering how it would affect my work by chosing a topic that irritates myself.The background for this project is built on a two year research and I am going to highlight the decisions along the way.I do relate my work strongly to Matthew Barneys way of creating and I got influenced by his aesthetics. But also the methods I used were significant for my end result which I am showing in form of clinical reports in which each character and its personal story is described.This report ends with a discussion part where I evaluate the result and my competence. / Program: Master Programme in Fashion Design

Abstract Remains to be Seen, a multi-media installation, provides the opportunity for reconfiguration, re-contextualization and re-remembering of visual memory. Geoffry Cubit, a historian of memory, has noted that “memory has no fixed, stable, unitary meaning to which we can invariably recur: it has always been, and legitimately, a concept in flux and under review”.[1]My work in this exhibition (and as discussed throughout this paper) addresses the unstable and revisionist nature of memory—both culturally and individually. Additionally, I attempt to address how memory (collective, visual, familial and individual) is implicated in the creation of selfhood, of personal narrative, and of family myth. In this exhibition, I marry traditional print and paper-making techniques with contemporary digital technologies to explore the ways in which memory is created and re-created by and across individuals, families, and social-historical contexts. I use family video footage from 1950’s Kentucky to utilize the nostalgia for another time, confronting and exposing problematic familial and cultural ideology and narratives. While images from the past may evoke sentimentality, the use of moving images over still digital print allows viewers to reflect on narrative interplay among static and mobile images in order to confront, expose and rework this tendency. Rather than portraying a static narrative of the past, I use the moving image to decontextualize the vernacular of the print. The images then function as a catalyst for and invitation to dialogue between the past and the present. [1]Geoffry Cubit, History and Memory, (NYC: Manchester University Press, 2007), 7.

Wall-Couture is a project within the textile design field, which aims to explore methods for surface design in digitally printed wallpaper. Through a practice based working method, textile after-treatment techniques have been used to manipulate digitally printed wallpaper with hand-painted motives. Practices borrowed from haute couture have influenced the working method. The result is a range of design examples displaying various expressions of the techniques. The project shows that several surface materials could be applied in ways that enhance tactility and visual depth to digitally printed wallpaper, and also that methods from craftsmanship could be use to design contemporary wallpaper. The combination of techniques increases the designer’s opportunities to design wallpaper by using alternative approaches to material and surfaces. The work also strives to higher the value of handicraft, decoration and ornamentation in the design field. Another value is to strengthen the position of digital printing in the textile industry; the work encourages technical progress for creating digital print in combination with surface treatments.

I have always preferred the journey to the destination. When I was growing up, my family drove back and forth between Florida and New York every summer. My father did the driving, my mother sat next to him, and my older brother and sister sat in the back seat. This left the cavernous back of the family station wagon for me and the luggage. There was no radio, very little conversation, and I didn't sleep. I spent these summer trips staring for endless hours, out of the back window of the car, transfixed on the expanse of open road behind us. Since I bought my first car I have traveled the country, and since I borrowed my first camera I have been documenting my travels. The miles of highway between destinations, the quiet hours, have interested me as much as, and often more than, the destination. The images in my exhibition are intended to document the journey.These photographs are sequential montages with each photo composed of multiple overlapping images that bleed into one another making an expansive image of open space. Each finished product represents a panorama, but unlike traditional panoramic images, forward, not lateral, movement defines them. Each new frame advances the journey while maintaining a connection with the frame before it. The ambiguity and lack of detail refer to the experience and the quietness of the elapsed time the journey has taken. The finished images reference the journey without necessarily referencing the destination. The presentation size is meant to fill the viewers' vision, making an all-encompassing experience.

Under tio veckor har jag arbetat med skapandet av kollektionen Blandband. Utgångspunkten var ränder och lura ögat. Jag ville undersöka vad som utgör en rand och hur en tredimensionell rand ser ut. Redan i början av arbetet satte jag en färgskala bestående av dels kulörta, starka färger och dels två nyanser av grått samt svart och vitt. Jag angrep arbetet med hjälp av en designmetod bestående av fem faser: Målsättning och research, Idéutveckling, Konceptutveckling, Realisering, Presentation och kommunikation. Färgpaletten, målsättning och moodboard som togs fram under första fasen fungerade tillsammans genom hela processen som en bas som jag kunnat stödja mig mot. Efter att idéer och koncept utvecklats började en kollektion ta form. I kollektionen Blandband ingår tre mönster; Samantha, Tommy och Lena, i vardera två färgställningar, dur och moll. Kollektionen är digitaltryckt på tre olika bomullskvaliteter. I den här rapporten redovisar jag mitt examensarbete Blandband i ord och bild.Throughout ten weeks I have been creating the Blandband collection. The starting point was stripes and trompe l’oeil. I wanted to explore what constitutes a stripe. In the beginning of the project I decided on a color palette containing partly of vibrant colors, and partly two shades of gray, black and white. I have used a basic design method with five phases: Research and Positioning, Concept generation, Concept development, Concept realisation, Presentation and Communication. The collection Blandband consists of three patterns: Lena, Samantha and Tommy, each pattern in two different colorways. This is the report of my bachelor thesis Blandband. / Program: Textildesignutbildningen

Tryckta Texturer – Färgade Floder, är ett lekfullt undersökande i hur man kan skapa mönster med illusioner av struktur på textil. Inspiration till projektet hämtas i vattnets böljande former, dess färgskiftningar och blanka yta. Utifrån temat vatten och vattenföroreningar tillverkas inspirationscollage som blir referens till val av färger och mönster. Stort vikt och tid läggs i det här arbetet på skissande och att hitta passande skisstekniker. Jag arbetar med metoder som ger strukturerade ytor och gör utifrån dem mönster. Genom digitaltryck överförs mönstren foto- identiskt till textil vilket bidrar till att jag kan skapa mönster med djup och liv. I val av material eftersträvar jag att efterlikna vattnets egenskaper och framhäva mönstrens kvaliteter. Arbetet presenteras som en kollektion textilier i metervara.In my bachelor thesis; Printed Textures – Coloured Rivers, I explore how to make textile prints with illusions of texture. I search for inspiration in water; it’s undulating shape, shiny surface and the changing of colour. Pattern ideas and colouration are taken from the pure and clear water as well as the poisonous and polluted. I put time and effort in finding suitable sketching techniques for creating structured surfaces. Out of the sketches I make patterns. By using digital printing I make it possible to transfer them onto fabric without loosing any details or colours. The technique makes it possible to create illusions of depth and make vivid patterns. In terms of choosing fabric I aim to simulate the properties of water and to bring out the qualities of each pattern. The work is presented as a collection of fabric by the metre. / Program: Textildesignutbildningen