I’m an artist, jewelry designer and handicraftswoman based in Norrköping Sweden.
In my artistic practice I’m currently interested in different social phenomenon, how people acts together with the city. That our way of living and how we look at the world reflects in the architecture around us, but also in patterns and systems which can be found in our society, both figurative and concrete. I’m delighted to discover and explore different tendencies and movements in everyday life. I try to understand how people make use of their environment and what make them cling on to certain patterns. I observe how people consume, use and react to music, media and politics and then I try to find details to highlight and visualize in a fun and interesting way. A source of inspiration can be as simple as a walk home from my studio. A twenty minute walk through Norrköping city and old industrial buildings, 80’s high-rise, parks, student houses, shopping-blocks etc. The promenade is full of people, concrete, cars, music, scaffolding, dogs, loud noise, traffic lights and asphalt; impressions which expose a variety of feelings and experiences. I get to witness consumption, addiction, fellowship, boredom, enjoyment, frustration, comedy and comfort. A whole load of expressions and emotions which have their duality in common; a joyful but still nagging feeling.
During the later part of my art practice I have, among other things, spent time combining my technical and theoretical skills within two different art forms - conceptual art and art crafts. Two art practices which rarely meets and surprisingly often considered incompatible. To me, they make the foundation of my work, but like the angel and devil on my shoulder they often start battle each other. Therefore I try to reconcile these two. Just like humor and tragedy, they bring out the best and enhance each other. As a continuous thread in my artistic work I therefore try to, in one way or another, unify the silent knowledge of handicraft with the sharpness of conceptual art. I imagine that art then becomes more entertaining and engaging.
My work process differ pretty much since I don’t work within a certain field or with a specific material. I’m making use of very different types of working methods, everything from traditional methods such as embroidery, carving and metalwork to more innovative and modern methods such as programming, engineering and recycling. To discover and learn new techniques is part of my artistry. The common denominator of my art is that the result almost always ends up in an installation which is constructed by different elements such as; objects, motion, sound, text, light etc. The artworks always have a conceptual background, either political, historical, social, cultural or linguistic. In order to reach the viewer, I use powerful tools such as humor and fiction. I want to emphasize the fact that I’m not aiming to create art based only on intellect and meta discussions. I want my art to appeal to the viewer thanks to it’s personal and emotional characteristics. My art pieces should be packed with emotional strength and this strength will remain long after the intellectual charm has disappeared. Then I have succeeded with my work.
A method I’ve worked with for a long time is combining, with the power of visual form, two seemingly diverse things. It’s fascinating how historical ideas and impulsions reoccur, both from individuals and major movements. It’s a circular motion, man and society face the same dilemmas and problems as in all times. This phenomenon makes me interested to use our history in the process and result of my artistic work. I’m excited to dig out historical facts and try different ways to present them in a fruitful way. To me, history always is relevant and interesting, not least when I can relate to myself and my own history. The final result often ends up in feelings and stories beyond history, personal experiences which I share with others.
My work practice is often based on different techniques and craft processes which requires a lot of precision and time. I find a meditative calm when I get the opportunity to work intensively. I also believe that true craftsmanship adds values to a piece of art that the machine-made lacks. Values relating to human presence and time. Another aspect I’ve increasingly begun to reflect on in my artistry is my will to treat the materials I use with respect and trust. Since there’s already an incredible amount of things on our planet it should be with thought and accuracy we transform even more material into yet another object.
So why do I practice art? Basically, I think it’s about where I find my motivation. A part of my motivation I find in the satisfaction I experience when I challenge myself by putting my endurance and technical skills to the test.