Diss. Stockholm : Stockholms universitet, 2010.

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Title of work: Electrolyte Artist: Judit Fritz Konstfack, Ädellab   ABSTRACT How much of the ocean have I filtered while in tears? Many times, while growing up on an island have I laid eyes on the enormous surrounding body of water and wondered – is the sorrow still in there? In small portions the human body and the bodies of nature exposes each other as part of their own content. Offering a glimpse into a constant material flow. Diffusing the boundaries between object and subject. A material flow that makes it impossible to tell what anything really is, because it has already evolved. My tears taste like the ocean. So does my sweat. I Find comfort in knowing I constantly take part in something that is beyond my human comprehension. That I don’t need to fully understand why I am here, because it is obvious that I, and everyone else play a part. We just don’t know the whole scene. Though a post humanistic angle I have investigated the close relation between matter, material, the human body and the bodies of nature, to find a connection point which decreases the hierarchy between object and subject. By crystallizing matter derived from human body fluids and building a machinery that portrays the process I invite the perceiver to a closeup of their part in a never-ending system. The agency of this project is to raise questions rather than finding answers, as I believe the human is in need of reevaluating their way of thinking when it comes to material and resources. I have tried to shift focus from the human perspective and self-centeredness into a set where we participate rather than being the perceiver. Alchemy was used as both a method and as an art historical reference, as the alchemical mindset is to learn through the act of making. This has been blended with modern days technology and imagination to build a body of work that balances between science and art. While being heavily based on theory and research, the body of work is a translation in which I allowed myself to freely portray how I imagine the travelling of matter is systemized. I created a working place where studies of the unseen is concentrated and visualized. Where the many sorrows and the hard work of human beings crystallize into solids, becoming nature again. Or was it ever not? And vice versa. Throughout the project, even though separated from everything that I connect to being human, the crystals made from pure matter derived from sweat and tears could not be separated from the knowledge of their origin. Even as objects, I see them as subjects. A conclusion that shed light upon the relativeness between bodies. A conclusion that brings life into what is often seen as dead, simultaneously showing the complex machinery of an emotional being.

This bachelor essay describes Anna Zimmerman’s artistic process between her solo exhibition Dualities and her degree work Perfect Substance. Both works are based on an interdisciplinary balance of natural science, mysticism and poetry. Mainly these works deal with physical and existential issues so large they are almost impossible to solve. Aware of this problem Zimmerman collects existing facts and adds creative writing in an attempt to reach knowledge. Therefor, some passages in this essay can be seen as an actual sample of her artistic work since the essay-format is similar to her finished artworks. The four chapters regards, in chronological order, light, imprints and photography; poetry as a thinking method; researching; time, geology, deep time, alchemy and philosophy. These subjects are supported by subjective experiences and lectures besides works and thoughts by, most prominent, Roland Barthes, Susan Sontag, Cyprien Gaillard and Susann Kriemann.

Abstract Modus Operandi is an attempt to conceptualize and materialize the intriguing difference between owning an object and owning your own identity. To be mirrored by a physical object, something with a tangible presence, when your identity feels slippery and volatile. The work is approached by mixing contemporary and historical symbols and ornaments to convey a sense of how our heritage affects the present and the eclectic mix that constitutes a human being. This project is based on the creation of a modular system for making a candlestick, which will tell your personal history – both past, present and future. A modular object as an invitation to introspection. A domestic candlestick to mirror yourself, in your own home, to create a link between your inner self and the rest of the world. Traditional materials, such as bronze and brass are used to make the candlestick. Beyond this contemporary or somehow misplaced symbols and techniques are incorporated, in order to create tension between tradition and contemporary identity markers. Fueled by the inspiration from the alchemical holistic view of the world and using symbols one can view the candlestick as one’s own spiritual alchemical lab to conduct the Magnum opus.

(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.

<p>Jag vill med min uppsats ta med läsaren på en djupdykning i bilden och symbolernas värld även om det med ord kan vara svårt att beskriva, då det ju i själva verket rör sig om en nivå som kommer före ordet. Mitt huvudsakliga syfte är att utforska huruvida bilderna och symbolerna fortfarande är livsnödvändiga för människans psykiska och kanske därmed fysiska överlevnad? Kan vi fortfarande än i dag, låta oss beröras av deras kraftfält och därmed göra förändringen, utvecklingen, transformationen och helandet möjligt?!</p><p>Vidare vill jag undersöka bildens dubbla roll som både ”symtomavslöjare” och framåtblickande ”transformerande helare”, samt kopplingen till shamanism och alkemi. Vad kan nutidsmänniskan lära av detta? Vad kan vi ta till oss i dag? Och vad mår den enskilde individen och ett samhälle bäst av i längden?</p><p>Jag vill betona en psykodynamisk syn på människan där även Jungs analytiska psykologi ingår, och använda objektrelationsteoretikerna som en gemensam bro mellan Jung, Freud och bildterapi. Min bakgrund är konstnärens och bildterapeutens (med psykodynamisk grund).</p><p>Och det är med dessa ögon som jag har tagit mig an ämnet. Jag säger inte att det är den enda vägen till helande och transformation, andra terapiformer kan fungera lika bra, beroende på person och bakgrund och orsak. Men bildens väg är min väg...</p>

Jag vill med min uppsats ta med läsaren på en djupdykning i bilden och symbolernas värld även om det med ord kan vara svårt att beskriva, då det ju i själva verket rör sig om en nivå som kommer före ordet. Mitt huvudsakliga syfte är att utforska huruvida bilderna och symbolerna fortfarande är livsnödvändiga för människans psykiska och kanske därmed fysiska överlevnad? Kan vi fortfarande än i dag, låta oss beröras av deras kraftfält och därmed göra förändringen, utvecklingen, transformationen och helandet möjligt?! Vidare vill jag undersöka bildens dubbla roll som både ”symtomavslöjare” och framåtblickande ”transformerande helare”, samt kopplingen till shamanism och alkemi. Vad kan nutidsmänniskan lära av detta? Vad kan vi ta till oss i dag? Och vad mår den enskilde individen och ett samhälle bäst av i längden? Jag vill betona en psykodynamisk syn på människan där även Jungs analytiska psykologi ingår, och använda objektrelationsteoretikerna som en gemensam bro mellan Jung, Freud och bildterapi. Min bakgrund är konstnärens och bildterapeutens (med psykodynamisk grund). Och det är med dessa ögon som jag har tagit mig an ämnet. Jag säger inte att det är den enda vägen till helande och transformation, andra terapiformer kan fungera lika bra, beroende på person och bakgrund och orsak. Men bildens väg är min väg...