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Interview with Daniela Hedman

Interview  /  Artists
Published: 22.07.2014
Interview with Daniela Hedman.
Author:
Klimt02
Edited by:
Klimt02
Edited at:
Barcelona
Daniela Hedman. Brooch: Beach series, 2013. Cherry wood, textile, copper. 16 x 9 x 0,6 cm. Photographer: Johan Söderling. Daniela Hedman
Brooch: Beach series, 2013
Cherry wood, textile, copper
16 x 9 x 0,6 cm
Photographer: Johan Söderling
© By the author. Read Klimt02.net Copyright.

Intro
Nature is an important influence in my work and it can be seen in my choice of color, material and a sense of spirit that could represent something nordic. At the same time I work with very basic and fundamental themes, and I think I have quite a direct and simple expression that reaches something more universal.
Do you think that jewellery is being standardized? What is there of local and universal in your artistic work?
In many ways yes, it is getting standardized. The world is getting smaller and as a result things look very similar. But I truly hope that it is mostly the surface of things or trends that ”are around” and that there is still a main core in different people’s artistic work that will speak louder. The standardization I think unfortunately brings some fear and cowardliness with it. It becomes a strong power telling us what contemporary jewellery is and should be. I think it is very important that we are conscious about this.

I guess we all are influenced of our surrounding environment. That comes in naturally in one's work. Nature is an important influence in my work and it can be seen in my choice of color, material and a sense of spirit that could represent something nordic. At the same time I work with very basic and fundamental themes, and I think I have quite a direct and simple expression that reaches something more universal.

What do you expect when exposing your work to the public (for example with an exhibition)?
I expect honesty. The best response I have ever received was from my grandmother who normally doesn't see a lot of contemporary art. She explained that my work felt like when she once pulled out a tooth. She hit right into the fundamental part of my work at that time. I don't need to get many peoples likes only a few with that type of response. To involve children and their thoughts around art can also be enormously enriching.

Are other areas besides jewellery present in you work?
I have always enjoyed using different media in my work, especially as a tool in my research process. I use photography, video and also my own and sometimes other people's bodies. My research process is often very physical.

The last work, book, film, city that has moved me was…
Not long ago I saw a retrospective exhibition here is Stockholm by Berit Lindfeldt, a sculptress that holds a low profile and who doesn't use many words concerning her work. I had actually never heard of her before but it became one of the best things I have seen lately. Her work felt so authentic, and instinctively made. I guess I really appreciate those components in art.

A place, space, country whose creativity surprises me…

I have been to Reykjavik in Iceland several times. It is an incredible place where the sulek-burcu-emptiness-2015 of nature totally fills me up. At the same time it bubbles with energy and creativity among the people. I often seek those kind of places to get inspiration and to get in tune with myself. Big cities without open spaces kill my energy.

Is there any designer, jeweller, artist you appreciate a lot?
Marina Abramovic and Hilma af Klint are two very important artists to me. In the field of contemporary jewellery I have always appreciated Iris Eichenberg whose work and exhibitions never leave me untouched. Whenever I visit Munich during SchmuckI always try to see Volker Atrops. His exhibitions often present a lovely mix of humor, sensitivity, fashion, art…whatever. He is a breath of fresh air. I also want to mention the jewellery that comes from Finland. Much of the work coming from there feels to me pure and self-composed somehow.

What piece of work has given you the most satisfaction?
I feel very satisfied with my contribution to the exhibitionALLA”. The theme of the exhibition was racial intolerance. It is an important subject and it actually scared me a bit in the schuster-nicole-schuster-nicole-beginning-2016-2016. At the end I was very happy I let other people be a part of and become the foundation of the work and not just myself.

Do you read Jewellery Magazines?
I must admit I rarely read magazines and I am not a particularly big internet surfer either. I do follow different sites and probably get a lot of information through Facebook or similar.

Do you discuss your work with other jewellery artists or any other person?

I am very happy to share an atelier with my friend and colleague Kajsa Lindberg. I really appreciate to be able to have someone to continuously have discussions with, both about the work we do but also in general about the field and life as an artist. This has become more and more important to me.

What is your first thought when you hear the word Future? What do you expect from it?

I expect openness. I expect recognition for good work, and for it´s inner quality. I expect contemporary jewellery to infiltrate all layers within any art field and society.
Initial research into balance. In artist's atelier, Stockholm, Sweden. August, 2013..
Initial research into balance. In artist's atelier, Stockholm, Sweden. August, 2013.

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Daniela Hedman. Piece: Somalia Turkiet Uganda Indien Sverige Bangladesh Chile Grekland, 2013. Fabric, paint, copper. 19 x 15, 17 x 17, 18 x 18, 22 x 11, 19 x 20, 13 x. “ALLA” Gustavsbergs Konsthall, Sweden. Daniela Hedman
Piece: Somalia Turkiet Uganda Indien Sverige Bangladesh Chile Grekland, 2013
Fabric, paint, copper
19 x 15, 17 x 17, 18 x 18, 22 x 11, 19 x 20, 13 x
“ALLA” Gustavsbergs Konsthall, Sweden
© By the author. Read Klimt02.net Copyright.
Hilma af Klint. Painting: Duvan, nr 2, 1915. © Stiftelsen Hilma af Klints Verk och Moderna. Hilma af Klint
Painting: Duvan, nr 2, 1915
© Stiftelsen Hilma af Klints Verk och Moderna
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Marina Abramovic. Installation: Crystal Cinema 1, 1991. Arte Amazonas, Museo del Arte Moderna, Rio de Janeiro. Marina Abramovic
Installation: Crystal Cinema 1, 1991
Arte Amazonas, Museo del Arte Moderna, Rio de Janeiro
© By the author. Read Klimt02.net Copyright.
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