My degree project is an exploration of fragility and impermanence in objects. An attempt to find a language for it and to put words on a bodily feeling. Where objects are given space through an installation. Like an extension, or mirroring, of my body or your body. I’m thinking about the complexity of human, trapped emotions and fragments, like puzzle pieces or layers of memories. I’m thinking about vulnerability and tears, unredeemed tears. When the first tear rolls down the cheek there is no stop. A bridge is created between an inner world and the outer when sensitive experiences are allowed to come to the surface and be released.

Abstract When I, at the age of 20, started working in home care service, I had an idea of what it means to age, a view witch I quickly realized was not true at all. The essay begins with a search for the images of aging you come in contact with, when you do not have a deeper interest in the matter.I take a closer look at how aging is described and how the concepts of aging and dignity are often interconnected, and debate about which images of aging that is outdated and where from they originated.I also show that that image is in for a change, much is happening right now, and there are many like me, who want to change and broaden the view of what aging can mean.Finally I describe my sculptures “Beatrice” and “Rosmari”, and reflect on how they relate to the image of what old age looks like.As a sculptor, I want to create an alternative to a widespread image of old people as a problem or idealization of the olf lady as a kind, cute and cookiebaking creature, as well as an alternative to the traditional sculpture tradition, that often show men in positions of power, and sweet passive women/girls.I tell of the strong, stubborn, eccentric and absolutely ordinary lady / När jag som 20åring började arbeta i hemtjänsten hade jag en uppfattning om hur åldrandet ser ut, en uppfattning som jag snabbt insåg inte stämde alls. Uppsatsen inleds med ett sökande efter den bild av åldrande man kommer i kontakt med när man inte har något djupare intresse i frågan.Jag tittar närmare på hur åldrande beskrivs och hur begreppen åldrande och värdighet ofta sammankopplas, resonerar kring vilka bilder av åldrandet som är förlegede och var de har sitt ursprung.Jag visar också på att bilden är under för ändring, mycket händer just nu och det finns många som liksom jag vill förändra och bredda bilden av vad åldrande kan inebära. Avslutningsvis beskriver jag mina skulpturer “Beatrice” och “Rosmari” och reflekterar över hur de förhåller sig till bilden av hur ålderdomen ser ut.Som skulptör vill jag skapa ett alternativ till en allmänt spridd bild av gamla människor som ett problem eller idealiseringen av tanten som en snäll, vän och bullbakande varelse, såväl som ett alternativ till den traditionella skulpturtraditionen som ofta visat män i maktposition eller ljuva passiva kvinnor/flickor.Jag berättar om den starka, envisa, excentriska och alldeles, alldeles vanliga tanten.

Serendipity – Att söka en sak, och finna någon annan. Det är mötet mellan ett medvetet och ett undermedvetet skapande som tagit form ur drömmar och konkreta tankar. Det handlar om det som får ske i huvudet när en inte anstränger sig eller har försvarsmekanismen på som i den vakna vardagen – och inte heller försöker leva upp till föreställningar och förväntningar. Det handlar om att hitta det som inte syns, bara det som känns. Det innersta som bara är. Det är saker som är glömt, eller gömt. Som hamnat i skymundan, saker som förlagts. Förlorats. Som upplevts, förbrukats. Åter funnet, åter brunnen. / Serendipity – To go in search of one thing, to find another. It’s about what is allowed to take place in the mind when one doesn’t make an effort or have their defence mechanism switched on, as in the awake everyday life – and not when trying hard to live up to others’ conceptions and expectations. I show a meeting between conscious and subconscious creating, which takes shape from dreams and physical thoughts. My work is about searching for what usually doesn’t show, and instead finding how it feels. The innermost that exists. I twist and screw up reality and recreate an alternative world. I make an abstract version where surface and structures are central. I work with intuition and energy, where the starting point for my process is a reality in the shape of something already existing, an experience that took place, or a real object. I reuse its form or function. An experience can be a dream that took place in the mind, a happening where reality and fiction have met. I collect stories from memories as a way to get a second chance to catch something that already went by. It’s about time, waiting, loss, longing and expectations – dreams that reflect into new shapes of reality, like going on a search for days that escaped.

No description available.

(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.

This paper presents how I came to create this collection of jewellery that is intimately tied to memories and fragments. How I have conducted my research about collections, museums, jewellery, and artists. Incorporating those findings into the workshop and the way the pieces came to be. Made in silver, zinc and iron, and with use of the techniques casting and etching.  And conclusively how a collection took form with this idea to give a sense of treasures or a language from an unknown world or place. Somewhere where time has passed and the individual pieces convey the notion that they are fragments of a greater whole, part of a story or memory that we can sense but not quite reckon, not to be fully understood.

No description available.

BEGINNING MIDDLE AND is a project that takes a textile approach to explore repeated pattern and the ongoing. This paper, being a part of this project, is describing and discussing the potentiality of using notions such as softness, folds and ongoingness to widen the views on what a craft practice can be and do. This raises questions about the relevancy of ideas such as finished and the one piece, in a craft context. Based on the properties of a resist dyeing technique, the paper puts the fold in relation to pattern and modularity. It wants to discuss what a fold is and how ideas of folding and unfolding could engage with process based artistic work. Constantly shifting between perspectives and looking for overlaps, the text then touches upon paradoxes and dilemmas found when unfolding the systems and the unruliness that together form the work. Looking at acts of unfinishing, it tries to understand the fascination and the fear that is triggered by incompleteness. The beginning is a wish to enhance the complexity of my craft practice, and to expand the understanding of it. But realizing the difficulties in doing so, the reasoning eventually ends up at the challenging task to break free from your own habits, trying to find a new beginning.

Du ska väva sex stycken ängsliga, praktiska, opraktiska och fantastiska mattor! Mattorna ska berätta olika saker. Mattorna ska vara många och stora för att de ska ta plats, synas och höras, men det ska de skämmas för! Mattorna ska vävas snabbt, för att allt måste gå snabbt. Får frågan om jag vill att en ska tycka synd om mig? Det är det jag verkligen inte vill! Får se över hur jag formulerar mig. Men om jag säger, tyck inte synd om mig, lägger jag ord i munnen på mottagaren. Hur ska jag formulera att jag tycker att det är rätt att det är svårt, att mitt handlande leder till självhat. Självhat jag borde känna för att förändras. / Your will weave six anxious and amazing rugs! The rugs will speak about different things. They shall be many and big to take up space, be seen and heard but that they should be ashamed of! The rugs shall be woven fast, because everything have to be fast. Do I want people to feel sorry for me? That is what I really don’t want! Have to look over how I formulate myself. But if I say, don’t feel sorry for me, I put words in the mouth of the receiver. How am I to formulate that I think it is right that it is hard, that my behavior leads to self-hatred. Self-hatred that I should feel to change.

Uppsatsens frågeställning är vilka formgivare, konsthantverkare, hantverkare, slöjdare eller andra personer skulle kunna ses som förebilder i pedagogisk slöjd i en nutida kontext. Metoden för att undersöka frågan var en webbenkät riktad till ett urval av grupper som berörs av slöjd på olika sätt. Den vanligaste förebilden bland mina respondenter visade sig vara en svensk man som är släkting. På andra och tredje plats kom två etablerade och, i slöjdkretsar, kända professionella slöjdare; Jögge Surolle Sundqvist och Beth Moen. Respondenterna beskriver sina slöjdförebilder som kreativa, nyfikna och generösa. Bristen på kända förebilder inom slöjd kan i hög grad påverka den pedagogiska slöjdens status och ställning. Ett större fokus på att lyfta fram en bredd av förbilder för slöjd i undervisningen skulle kunna öppna upp för förbättrade möjligheter att arbeta mot det grundskolans kursplan i slöjd tar upp. / The essay's question is what designers, artisans, craftsmen, people working with sloyd or other people could be seen as role models in educational sloyd in a contemporary context. The method of investigating the issue was a web survey targeted at a selection of groups related to sloyd. The most common model among my respondents turned out to be a Swedish man who is a relative. Second and third place came two well-known professional craftsmen; Jögge Surolle Sundqvist and Beth Moen. Respondents describe their role models as creative, curious and generous. The lack of known models in sloyd can greatly affect the status and position of the educational sloyd. More focus on highlighting a width of rolemodels in sloyd teaching could open up for improved opportunities to work according to the elementary school's curriculum in sloyd.