The Aboriginal art market has received significantly increased interest from non-Aboriginal audiences, but Aboriginal identity and art are still not understood by non-Aboriginal people. The colonial impacts continue challenging the evolving Aboriginal identity and art practices in navigating its intersecting factors. Through interview case studies and data collection, this study aims to understand the contemporary female Aboriginal artists’ identity and how that reflects in their art. It investigates the changes in Aboriginal art in material, concept and sustainability while examining the perspective of younger generations on these changes. The findings reveal that Aboriginal identity has evolved into a diverse and complex construct influenced by politics, race, gender, class, etc. With cultural disconnection due to colonisation and increasing urban migration, contemporary Aboriginal art has evolved into a hybrid form of Western and Aboriginal art. The findings show that material use, concept and sustainability in Aboriginal art have changed significantly, and the younger generations are happy with more diverse and innovative art practices yet concerned about the continuation of the lack of Aboriginal heritage recognition. This thesis is an interdisciplinary study in the fields of heritage studies, post-colonial studies and art history. It highlights the multifaceted Aboriginal identity and art by showing the limitless dynamic of contemporary Aboriginal art practices. It discusses the importance of better understanding among non-Aboriginal people. The study contributes to amplifying the voices of the young generation of female contemporary Aboriginal artists and their goal of reaching a bigger audience to share and teach their heritage.

In this writing, I guide the reader through different aspects of the emotional understanding and experiencing of art. The general purpose of the research is to argue that aesthetic experience is intertwined with various emotional stages. I attempt to decipher the meaning of an imagined or recreated nature (landscape and creatures) by other artists and then focus on my own realizations in creating it. To undertake this challenge, I aspire to understand the unconscious emotional connections of nature to humans, as well as the related notions of the uncanny and the corporeal. The methodology of the research is partly by finding evidence from the discipline of psychology and phenomenology, partly introspective and also process-based (technical) by focusing on the discipline of glass making. The paper’s main conclusions are embedded in my final work, which serve as an illustration as well as qualities of a craft-based research.

This study is about audio design in horror games, by looking at the horror game Darkwood. Its goal is to answer the questions on how the soundscape of Darkwood affects player experience, what sounds Darkwood utilizes, and what emotional registers it evokes. This study’s goal is to figure out the methods of horror soundscapes to be useful for followingattempts at making horror-themed soundscapes by future game developers. The research wasconducted by having five participants play the introductory section of Darkwood, theparticipants would be interviewed afterward with questions regarding the game and horror ingeneral. The gathered data would be analyzed mainly by using the Two Factor Theory of Emotion by Schachter and Singer. The study found that the audio of Darkwood had an impacton the participants’ experience, with players visibly growing uncomfortable by the tense ambiance, but it also discovered that visuals played a large part in it too, thus it recommends future experiments with greater scale and more precise tools for measuring emotional reactions derived from sound.

"Jag klippte luggen som Mia Wallace" is a portrayal and exploration of memories from my late teenage years. I felt strong emotions during that time without knowing where they came from. As an 18-year-old, I wanted to be seen as sexy and cool, fit into a social group, and create my identity as a young woman. That time of my life fascinates me. My degree project consists of a film with fragments of memories that play in a loop. I have worked in stop-motion animation, focusing on the expression that the soft clay gives my character. In parallel, I have, in my writing, connected these fragments to gender studies. This has helped me gain a better understanding of my 18-year-old self.

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Giving up a certain amount of control can be healthy, productive, and natural. Nature has an important part to play in our lives, and nature is random even as it obeys natural laws. In the same way, creating ceramic objects requires obedience to the laws of nature even as it benefits from freedom from control. Creation requires a certain amount of letting go of control, allowing nature to take its course, and recognizing when good things happen. I have learned that my most successful pieces emerge when I combine conscious control with serendipity. The work in this show reflects that symbiotic, natural relationship between control and serendipity, and it grew out of my struggles with unrealized expectations. I tend to be a problem solver, sometimes obsessively, and as I've worked through various surprises, challenges, disappointments, and disillusions, I've come to realize that I have little control over life's situations. I have learned to rely on the tender mercy of a greater designer and to value the less-than perfect; those lessons have influenced my ceramic art.

Nostalgin har länge fascinerat mig. Det är en återkommande, stark och för mig melankolisk känsla som jag är intresserad av. Hur fungerar den och vad gör den med mig? Framförallt: Varför blir jag allt som oftast nostalgisk över just svåra polära perioder i mitt liv som jag dessutom idealiserar? Varför har jag svårt att släppa taget om just dessa?

This master essay aims to contextualize my artistic practice and ask questions regarding the artist's position in relation to her work. The essay should be seen as a meta description of my artistic method which I call gonzo painting, an expression I explain and develop further in the essay. This essay is part visual and part written and should be approached more as a piece of art than a piece of academic writing. Pictures sourced from social media are used as a sort of diary and are accompanied by written thoughts. The essay was written during the six months leading up to my graduation show.

Mitt examensarbete har bestått av två delar - en gestaltande och en skriftlig. Den förstnämnda resulterade i utställningen Kung Minos hjärna som löst kretsade kring den grekiska myten om Minotauren och labyrinten. Utställningen bestod av tio tusch- och akrylteckningar (dessa föreställde bland annat djur, människor och skelettdelar i olika rum och landskap) samt en kort text om det gamla Grekland, den bestod mest av gissningar eller kanske en slags önskningar. Den gestaltande delen var alltså också den delvis skriftlig.  Examensarbetets andra del, Världarnas gråvatten, är den här uppsatsen. Jag har skrivit om mitt liv (inte i sin helhet utan noggrant utvalda delar) och om hur jag tänker på min och andras konst. Jag driver linjen att bilder existerar mitt emellan den fysiska världen och betraktarens inre samt att till synes statiska konstverk förändras innehållsmässigt över tid. Uppsatsen innehåller också ett avsnitt om fiktionens ursprung, jag försöker reda ut det hela från början. Allt avslutas med en beskrivning av hur jag arbetar, hur jag blandar samman olika intryck till en ny helhet. Min skriftliga uppsats är delvis gestaltande.

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