In this essay my aim is to understand the machinations of the action of taking a photograph and putting it in circulation, and what the role of a sculpture becomes in a world where this is possible. In a general sense, how does instant representation through photography activate sculpture? Can sculpture change photography, or is the connection a one-way feed? Can it be that this connection determines our lives to such an extent that the success of one medium informs the strength of the other? / Nej

<p>DVD finns tillgänglig på Kungl Konsthögskolans bibliotek. Masterarbetet består av en skriftlig och en gestaltande del. Alternativtitel angertitel på gestaltande del. </p>

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I ”Äta med organiska former” fokuserar jag på att designa bestick som är inspirerade av organiska former hittade i naturen. Jag vill i detta projekt designa bestick som utgör en kontrast till den minimalistiska trend vi ser idag. Detta genom att införliva organiska detaljer i de vardagliga besticken som följer den informella bordsdukningen.  Dessa former inspireras av studier i djurs anatomi och olika texturer som återfinns i naturen.  Med lera utforskar jag hur organiskaformer kan tas fram och inkorporeras i besticken. Detta ska resultera i en mer konstnärlig arbetsprocess såväl som haptiskt designade prototyper.

A monument over the Swedish early women’s rights protagonist Fredrika Bremer (1801- 1865) was raised in 1927 at Humlegården in Stockholm. The project with the monument lasted for many years and was subject to debates in the public press. The idea was a competition, but it was never announced. The purpose with this essay is to increase knowledge and understanding of the selection for the monument over Fredrika Bremer. I have performed image analysis of the proposals for the monument that a group of experts were requested to review by the committee for raising of the statue in late 1924 before a decision was made by them in early 1925, and I have exposed and analysed the review statements from the group of experts regarding the proposals. In my investigations it became clear that the proposals for the monument were made in a time when innovative classicism meets modernism, i.e. Rodin versus Bourdelle. I also concluded that character, monumentality and expression are phrases that the group of experts used in their opinions on the proposals as statements without specifying in detail. Their writing of the words implicitly uncovers a breakthrough of modernist style for monuments over a person, thereby adding to attributing the terms character, monumentality and expression a new modernist discourse regarding monuments over a person. / Ett monument över den svenska kvinnorörelsens tidiga förkämpe Fredrika Bremer (1801- 1865) restes i Humlegården i Stockholm år 1927. Projektet med monumentet pågick under många år och var ämne för debatter i dags- och veckopress. Tanken var en tävling men den utlystes aldrig. Syftet med den här uppsatsen är bidra till ökad kunskap och bredare förståelse om urvalet vid Fredrika Bremer-monumentets tillkomst, genom en bildanalys av de förslag till monumentet som en grupp sakkunniga i slutet av 1924 av statykommittén ombads ta ställning till, innan beslut fattades av dem tidigt under 1925, och blottläggande och analys av uttalanden som gruppen med de sakkunniga lämnade om förslagen. I min undersökning blev det tydligt att förslagen till monument utfördes i en tid när klassiskt nytänkande möter modernism för monument, i.e. Rodin versus Bourdelle. Karaktär, monumentalitet och expression var begrepp som de sakkunniga använde i sina uttalanden utan att närmare precisera dem. Deras utsagor som ett vetande i användningen av orden bidrog till en ändring av diskurserna för begreppen med nya modernistiska betydelser, och medverkade till ett modernistiskt genombrott i sammanhanget med monument över personer.

At the end of the 19th century and the beginning of the 20th century, many objects from China became part ofmuseum collections in the West. One of these objects is a monumental glazed ceramic sculpture from ShanxiProvince in China, that since the beginning of the 20th century has been part of the East Asian collection at theRöhsska Museum of Design and Craft in Sweden. Very little is known about this sculpture, even though it’s morethan two metres tall and covered in brightly coloured glazes and therefore difficult to ignore. Finding out moreabout the sculpture means taking a closer look at where it came from, what has happened during the time that ithas been a part of a museum collection and what can be learned today. It is also important to consider how museumstraditionally have worked with objects from other cultures than their own and the current attitudes to these objects.The sculpture is most likely a liuli 琉璃 guardian lion, but it has been called many different things over the past100 years as a museum object.

The aim of this essay is to study and analyse the sculpture Gowhar that was made on a commission for Uppsala City Hall, the sculpture was created by the swedish based artist Samaneh Reyhani. The artist created a sculpture made out of marble and bronze and it takes the shape of a seashell and it’s pearl. The pearl is a visual embodiment of the word democracy, meaning that it takes a time for a pearl to be created, such as democracy has taken time to become a part of todays society. This study examens how the design and the material of the sculpture affects its interpretation. Thereafter the placement of the artwork is analysed and the connection between sculpture and location is investigated. The method that has been used to analyse the sculpture is inspired by Jessica Sjöholm Skrubbes reworked version of Wolfgang Kemps receptions aesthetics method. The theoretical framework was inspired by Rosalind E. Krauss sculpture theory.

The 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.

Art in the city can be invisible until we talk about it. Letting children see public art in the context of play and narrative is a way to enhance creative thinking and knowledge as well as making the art visible. By creating a prototype for an art walk for children this study was able to create a scenery of children using different kinds of mediated narrative combined with a physical environment and movement. The theoretical framework of the project was picture books (Rhedin, 1991) transmedia (Jenkins 2006, Ryan 2004) and public art (Kwon 2002). The project’s aim was to create an empirical context for primary school children to explore public artwork. The project was designed as a walk for children and teachers, within a narrative context presented in a printed book containing illustrations of the actual artwork and a framing mystery story. The book also contains blank pages for children to draw and write stories based on the book and their empirical experience. Analysing the material from a method based on narratology (Genette 1980, Brooks 1992, Brannigan 1995) and phenomenology (Merleau-Ponty 1945/1997) the study shows that switching between turning of pages, between the illustrations in the book and the first hand experience of being in the physical environment, leads to a high degree of engagement. Interaction with the artwork also inspires children to draw their own pictures, based on the artwork, and to create their own stories about it.

Abstract Embodied evolves around the tactility of the present body, in relation to the eternal absence and the perishability of itself end the world that surrounds it. I work with ceramic sculpture, where the body in relation to the material and the world is both my theme and my method. The body is always present and a basic condition to experience and make objects; it is the subject, the objectand the execution in my work. The written part of my examwork is based on my process and studiowork.