Exhibition by Karin Roy Andersson, Hanna Liljenberg and Jelizavaeta Suska
Exhibition
/
10 Apr 2021
-
05 May 2021
Published: 30.03.2021
Sintra
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sintra.se
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Work by Karin Roy Andersson, Hanna Liljenberg and Jelizavaeta Suska.
© By the author. Read Klimt02.net Copyright.
Three artists Karin Roy Andersson, Hanna Liljenberg, and Jelizavaeta Suska show their recent and previous jewellery work in this exhibition at Sintra which is a contemporary crafts shop and gallery, established in 1984. Their work was created in unusual materials in their own artistic language.
Artist list
Karin Roy Andersson, Hanna Liljenberg, Jelizaveta Suska
How different organisms work together and make living possible fascinates me. I marvel at creatures and organisms living and growing in harsh environments like on seaside rocks.
Lichens are a complex life form that looks like a single organism but is in fact a symbiotic partnership of two separate organisms, a fungus, and an alga. You see them as bright yellow ones dotted on coast side rocks. Crisp black ones outliving the harsh weather of salty coasts. Silvery greens grow fuzzy on stones and even hang from trees in old forests.
These hybrids are made by letting paper made lichens grow out of raw metal shapes. The shapes are coloured by flames into dark grey, ochre-yellow and white and sometimes even green tones are showing. I then mimic the colours in order to transfer them to the leafy paper.
/ Hanna Liljenberg
I often use residual material. Giving new life to leftovers and garbage gives me satisfaction and I appreciate that the material carries a story. The search for new materials and the interaction between its different qualities and me is a challenge and a driving force. For a long time I have been working with plastics collected from garbage containers and ditch-banks. I keep my eyes open when I go to the hairdresser; I search in my friends’ bathrooms and fridges. In my most recent work, I have used reindeer skin - in a way also a residual material that is not always used after reindeer slaughter. Reindeer skin is elastic, strong, soft and alive. It is fantastic to touch and to work with. The material is also reminiscent of older generations' crafts and traditions.
/ Karin Roy Andersson
You have probably heard of the fairytale Thumbelina written by Hans Christian Andersen. When I was a child I imagined myself being as tiny as her; the gigantic world seemed to me to be more beautiful and full of tempting adventures. I still think that, sometimes.
It's striking where our imagination can take us. When I work on my jewelry I aim to be a demiurge, to create my own new world. At times, I craft my works so that if I were to become tiny and drop onto my jewelry, I would see a marvelous landscape. Such associations are for me a vessel that transfers ideas to the material.
/ Jelizaveta Suska
Lichens are a complex life form that looks like a single organism but is in fact a symbiotic partnership of two separate organisms, a fungus, and an alga. You see them as bright yellow ones dotted on coast side rocks. Crisp black ones outliving the harsh weather of salty coasts. Silvery greens grow fuzzy on stones and even hang from trees in old forests.
These hybrids are made by letting paper made lichens grow out of raw metal shapes. The shapes are coloured by flames into dark grey, ochre-yellow and white and sometimes even green tones are showing. I then mimic the colours in order to transfer them to the leafy paper.
/ Hanna Liljenberg
I often use residual material. Giving new life to leftovers and garbage gives me satisfaction and I appreciate that the material carries a story. The search for new materials and the interaction between its different qualities and me is a challenge and a driving force. For a long time I have been working with plastics collected from garbage containers and ditch-banks. I keep my eyes open when I go to the hairdresser; I search in my friends’ bathrooms and fridges. In my most recent work, I have used reindeer skin - in a way also a residual material that is not always used after reindeer slaughter. Reindeer skin is elastic, strong, soft and alive. It is fantastic to touch and to work with. The material is also reminiscent of older generations' crafts and traditions.
/ Karin Roy Andersson
You have probably heard of the fairytale Thumbelina written by Hans Christian Andersen. When I was a child I imagined myself being as tiny as her; the gigantic world seemed to me to be more beautiful and full of tempting adventures. I still think that, sometimes.
It's striking where our imagination can take us. When I work on my jewelry I aim to be a demiurge, to create my own new world. At times, I craft my works so that if I were to become tiny and drop onto my jewelry, I would see a marvelous landscape. Such associations are for me a vessel that transfers ideas to the material.
/ Jelizaveta Suska
Bracelet: Tyra’s, 2020
Naturally tanned reindeer skin, thread, silver.
5.5 x 8.5 x 8.5 cm
© By the author. Read Klimt02.net Copyright.
Necklace: Symbiosis, 2020
Paper, acrylic paint, lacquer silver.
Photo by: Hanna Liljenberg
© By the author. Read Klimt02.net Copyright.
Necklace: Ulla's, 2021
Naturally tanned reindeer skin, thread, steel.
34 x 23 x 3 cm
© By the author. Read Klimt02.net Copyright.
Brooch: Symbiosis, 2020
Silver, paper, steel, acrylic paint, lacquer.
© By the author. Read Klimt02.net Copyright.
Piece: Frozen in Amber 15, 2018
Polymer, opal, amethyst, 14K red gold, crushed amber, titanium.
© By the author. Read Klimt02.net Copyright.
Piece: Frozen Moment 3, 2019
Polymer, crushed marble, 14K gold, steel.
6 x 5 x 2 cm
© By the author. Read Klimt02.net Copyright.
Sintra
- Mail:
- infosintra.se
- Phone:
- +46(0)31 7750120
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