DAYDREAMS Three years ago my friend Maja and I were sitting at a beach on an island in Thailand, fasting, drinking green-juices and coconuts with straws. We were painting and talking about our dreams. I was dreaming about painting big walls, dreams that felt far away. The next day I found myself on an expressboat to the nearest island hospital. I was totally exhausted. I wanted to step into the new year like a new person, but ended up like this. I survived the ordeal and came home alive. Upon returning home I got the opportunity to paint my rst indoor wall at Marie Laveau, where my friends and I had a club. It was a relatively small job, but such a cool feeling painting along with other female aritsts in a safe space. I knew inside that this was something I wanted to explore more deeply. I began to see the connection between textile and spraypainting in a whole new way. I’ve found in my life that one step always leads to another, and hard work often brings results. My dream about one day painting a large wall was now a realistic possibilty. The summer of 2017 I suddenly found myself on an airplane heading for Ajman in the Arabic Emirates. I had been invited to paint a 16 meter high building overlooking the sea. The outdoor temperature was 42 degrees. I was so nervous and scared. I’ll never forget the feeling of being so high up on a wobbly skylift shifting back and forth in the wind while the engiine was overheating. Panic. I was stuck. However, once again I managed. The painting was completed and I’ve never felt so proud and happy before. I’m a big believer in dreaming, when I dare to visionize in all directions I feel that somewhere it will be recieved. I’ve seen that the possibility of my dreams coming true increases when I write them down and talk about them, even though it at times can feel scary. Even though sometimes I don ́t feel capable or my con dence is shaky. To be good at something requires taking that rst step.

Syftet för denna studie är att analysera Albertus Pictors kalkmålningar i det senmedeltida kyrkorummet för att se om motivens symboliska värde är avgörande för placering, komposition och vem som var menad att betrakta bilderna. Dessutom syftar studien till att undersöka vad som låg bakom utformandet av Albertus konstverk, för att på så sätt få en bättre förståelse för vad som gett upphov till hans muralmålningar samt vad som utmärker hans stil. Studiens övergripande frågeställning är: Vad kännetecknar Albertus Pictors kalkmålningar med motivet av Syndafallet och Kristi Himmelsfärd? Vilka övervägande yttre faktorer har påverkat motivens utformning? Vilken betydelse har motivens placering i kyrkorummet? De teoretiska utgångspunkterna är Erwin Panofskys ikonologiska metod, Hans Haydens begrepp om att kontextualisera konst och Chloë Reddaways begrepp sacred space. Materialet består av alla Albertus målningar av Syndafallet och Kristi Himmelsfärd med huvudsaklig fokus på målningarna i Täby Kyrka i Uppland. I uppsatsen kommer jag bland annat att undersöka bildprogrammens typologiska koppling till litterära verk som Biblia Pauperum Predicatorum och Speculum Humanae Salvationis, samt vilken betydelse kyrkornas vapensköldar har haft för motivens utformande. / The purpose of this study is to analyze Albertus Pictor's frescoes in the late medieval church room to see if the symbolic value of the motifs is decisive for placement, composition and who was meant to look at the pictures. In addition, the study aims to examine what was behind the design of Albertus' artwork, in order to gain a better understanding of what gave rise to his murals and what characterizes his style. The overall question of the study is: What characterizes Albertus Pictor's frescoes with the motif of the The Fall of Man and Ascension of Christ? What predominant external factors have influenced the design of the motifs? What is the significance of the motif's location in the church room? The theoretical starting points are Erwin Panofsky's iconological method, Hans Hayden's concept of contextualizing art and Chloë Reddaway's concept of sacred space. The material consists of all Albertus paintings of The Fall of Man and Ascension of Christ with the main focus on the paintings in Täby Church in Uppland. In the essay, I will, among other things, examine the image programs 'typological connection to literary works such as Biblia Pauperum Predicatorum and Speculum Humanae Salvationis, and the significance of the churches' coats of arms for the design of the motifs.