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Goldmuseum Taipei - Metal Crafts Competition 2018.
Goldschmitte.

HDK Academy of Design and Crafts. Degree Show 2017

Exhibition  /  Schools Degree Show 2017  /  26 May 2017  -  04 Jun 2017
Published: 22.05.2017
Fixfabriken
Management:
Karin Johansson
Ammeli Engström. Object: Not my hands, 2017. Silver. Photo by: Maja Kristin Nylander. MFA Graduate
. ​Jewellery/Objects
. 
. Baskets, ropes, strong knots and doubtful nets. The knowledge of making is passed on through hands. 
. Where adornments surpass the practical and the real and where it exceeds other needs.
. I investigate placement and function, its classical structures, tradition and meaning.. Ammeli Engström
Object: Not my hands, 2017
Silver
Photo by: Maja Kristin Nylander

MFA Graduate
​Jewellery/Objects

Baskets, ropes, strong knots and doubtful nets. The knowledge of making is passed on through hands. 
Where adornments surpass the practical and the real and where it exceeds other needs.
I investigate placement and function, its classical structures, tradition and meaning.

© By the author. Read Klimt02.net Copyright.

Intro
Craft has long occupied the in-between: shuttling between function, ornament and conceptual critique. Debates in recent decades often get stuck on these points - attempting, with difficulty, to agree on a single identity or position. The illusiveness of this endeavour may point to the greatest assets of craft: resilience, malleability and even a Trojan-like ability to disguise itself and enter into other fields and discourses almost without notice. While this flexibility is commendable, it can leave us with the impression that craft thrives only in small specialist communities of practice and education.

Artist list

Sofia Bankeström, Sara Bech-Hansen, Ammeli Engström, Sofi Json Lidman, Wan-Ying Lin, Tua Marika, Felicia Riisager, Lovisa Smedjebäck Youngström, Hanna Trygg
The communities that explicitly teach craft practices are crucial. Internationally they are also increasingly rare. But that does not accurately reflect the real scale of craft. These practices appear in disguise all around us: in design that dwells on material concerns, in art that addresses the value of labour or our relationship to time, and even in literature and film in the guise of characters’ personal or cultural identities. The complexity of craft’s identity can be explained, at least in part, by its breadth. Under the name of craft the field is small. But counted in its values found across creative practices, its presence and impact are vast.

The graduating students exhibiting here have studied in communities at HDK that value the particular importance of craft in society today. But on leaving these specialist studies, it is also worth remembering that the meaning and contribution the crafts make to our lives appear in many more places than where craft is named. And if you feel craft is at work in corners of creativity that have not recognised the connection, this lesson is now yours to teach. We live in an era where unity is under threat, walls - both real and metaphorical - are hastily under construction, and regrettably great energy is being invested in defining difference. While breadth has troubled the identity of craft for decades, there may be no better time than the present to celebrate the resilience and malleability of contemporary craft as the discipline’s greatest assets
. / Jessica Hemmings, Professor of Crafts, HDK

Find more informations at the HDK Website.
Ammeli Engström. Object: Not my hands, 2017. Silver. Photo by: Maja Kristin Nylander. Ammeli Engström
Object: Not my hands, 2017
Silver
Photo by: Maja Kristin Nylander
© By the author. Read Klimt02.net Copyright.
Ammeli Engström. Object: Not my hands, 2017. Silver. Photo by: Maja Kristin Nylander. Ammeli Engström
Object: Not my hands, 2017
Silver
Photo by: Maja Kristin Nylander
© By the author. Read Klimt02.net Copyright.
Wan-Ying Lin. Object: Beyond sight, 2017. Copper , silver, brass, foam clay, silk thread. Photo by: Wan-Ying Lin. MFA Graduate
. ​Jewellery/Objects
. 
.  The first attraction is mostly sight. The first step in the project is experimenting with taking this possibility of attraction away. In action and with interviews of several people I was investigating the loss of sight, trying to ring elements that would answer how this effects the perception of an object.
. This is a collection conveyed the meaning of “beyond sight”- a collection of objects/jewellery which has similar appearance, but they were different in weight, sounds, density…etc. One has not only to see but also to feel, and to find the underlying impressions and value. . Wan-Ying Lin
Object: Beyond sight, 2017
Copper , silver, brass, foam clay, silk thread
Photo by: Wan-Ying Lin

MFA Graduate
​Jewellery/Objects

 The first attraction is mostly sight. The first step in the project is experimenting with taking this possibility of attraction away. In action and with interviews of several people I was investigating the loss of sight, trying to ring elements that would answer how this effects the perception of an object.
This is a collection conveyed the meaning of “beyond sight”- a collection of objects/jewellery which has similar appearance, but they were different in weight, sounds, density…etc. One has not only to see but also to feel, and to find the underlying impressions and value. 

© By the author. Read Klimt02.net Copyright.
Wan-Ying Lin. Object: Beyond sight, 2017. Copper , silver, brass, foam clay, silk thread. Photo by: Ekaterina Lukoshkova. Wan-Ying Lin
Object: Beyond sight, 2017
Copper , silver, brass, foam clay, silk thread
Photo by: Ekaterina Lukoshkova
© By the author. Read Klimt02.net Copyright.
Sofia Bankeström. Piece: Memory Box, 2017. Wood, elastic thread. Photo by: Ekaterina Lukoshkova. MFA Graduate
. Jewellery/Object
. 
. A complete box is made of walls, bottom and top. Sometimes closed,  sometimes open. Some boxes do not open at all. Perhaps the key has gone missing. Maybe the top is nailed. Then we do not know what is inside the box. Best may be a closed box. It could contain anything. Processing and handling wood leave traces in the surface. This is  how the material remembers, by marks and scratches. It absorbs grease and dirt, particles from activity and people. I associate with the wood as I affect it with my tools. After a while it affects me back. The gaze abstracts and interprets the situation in a millisecond. I find ways to slow down in order to really see.. Sofia Bankeström
Piece: Memory Box, 2017
Wood, elastic thread
Photo by: Ekaterina Lukoshkova

MFA Graduate
Jewellery/Object

A complete box is made of walls, bottom and top. Sometimes closed,  sometimes open. Some boxes do not open at all. Perhaps the key has gone missing. Maybe the top is nailed. Then we do not know what is inside the box. Best may be a closed box. It could contain anything. Processing and handling wood leave traces in the surface. This is  how the material remembers, by marks and scratches. It absorbs grease and dirt, particles from activity and people. I associate with the wood as I affect it with my tools. After a while it affects me back. The gaze abstracts and interprets the situation in a millisecond. I find ways to slow down in order to really see.

© By the author. Read Klimt02.net Copyright.
Sofia Bankeström. Piece: Memory Box, 2017. Wood, elastic thread. Photo by: Ekaterina Lukoshkova. Sofia Bankeström
Piece: Memory Box, 2017
Wood, elastic thread
Photo by: Ekaterina Lukoshkova
© By the author. Read Klimt02.net Copyright.
Sofi Json Lidman. Object: Redskap Landskap, 2017. Anodized aluminium.. Photo by: Ekaterina Lukoshkova. BFA Graduate
. 
. I’m fascinated by how nature, the movement of the air and the ocean erodes and transforms. I’m experimenting with aluminum. I’m manipulating the material to change its appearance and its quality. Creating new surfaces and structures. I’m working with the hammer - searching for movement on the surface. I paint the metal and chase shapes from nature. I’m working fast and intuitively, combining pieces with each other. Breaking down, tearing apart, combining and putting together. I’m searching for something; a reference to an everyday object. Focusing on the meeting and the sparks between the different elements.. Sofi Json Lidman
Object: Redskap Landskap, 2017
Anodized aluminium.
Photo by: Ekaterina Lukoshkova

BFA Graduate

I’m fascinated by how nature, the movement of the air and the ocean erodes and transforms. I’m experimenting with aluminum. I’m manipulating the material to change its appearance and its quality. Creating new surfaces and structures. I’m working with the hammer - searching for movement on the surface. I paint the metal and chase shapes from nature. I’m working fast and intuitively, combining pieces with each other. Breaking down, tearing apart, combining and putting together. I’m searching for something; a reference to an everyday object. Focusing on the meeting and the sparks between the different elements.

© By the author. Read Klimt02.net Copyright.
Sofi Json Lidman. Object: Redskap Landskap, 2017. Anodized aluminium.. Photo by: Ekaterina Lukoshkova. Detail view. Sofi Json Lidman
Object: Redskap Landskap, 2017
Anodized aluminium.
Photo by: Ekaterina Lukoshkova

Detail view

© By the author. Read Klimt02.net Copyright.
Lovisa Smedjebäck Youngström. Object: Destruction, insufficiency and handles, 2017. Silver, aluminium, wood (birch) and bronze.. Photo by: Ekaterina Lukoshkova. BFA Graduate
. 
. We are destroying the Earth. And I am not enough. How do I handle my anxiety over climate change? I´m doing handles. I call my handles Deforestation, Petroleum, Throwaway handle, Acquisitiveness and My skin is falling off. They are based on situations in my daily life, when I use material at the expense of the earth. They belong on a door, but more than everyday objects they are symbols of opening doors. Mostly my handles do not open doors, since my way of using material is not a way out.
.  . Lovisa Smedjebäck Youngström
Object: Destruction, insufficiency and handles, 2017
Silver, aluminium, wood (birch) and bronze.
Photo by: Ekaterina Lukoshkova
BFA Graduate

We are destroying the Earth. And I am not enough. How do I handle my anxiety over climate change? I´m doing handles. I call my handles Deforestation, Petroleum, Throwaway handle, Acquisitiveness and My skin is falling off. They are based on situations in my daily life, when I use material at the expense of the earth. They belong on a door, but more than everyday objects they are symbols of opening doors. Mostly my handles do not open doors, since my way of using material is not a way out.
 
© By the author. Read Klimt02.net Copyright.
Lovisa Smedjebäck Youngström. Object: Destruction, insufficiency and handles, 2017. Silver, aluminium, wood (birch) and bronze.. Photo by: Ekaterina Lukoshkova. Detail viewBFA Graduate
. 
. We are destroying the Earth. And I am not enough. How do I handle my anxiety over climate change? I´m doing handles. I call my handles Deforestation, Petroleum, Throwaway handle, Acquisitiveness and My skin is falling off. They are based on situations in my daily life, when I use material at the expense of the earth. They belong on a door, but more than everyday objects they are symbols of opening doors. Mostly my handles do not open doors, since my way of using material is not a way out.
.  . Lovisa Smedjebäck Youngström
Object: Destruction, insufficiency and handles, 2017
Silver, aluminium, wood (birch) and bronze.
Photo by: Ekaterina Lukoshkova

Detail view
BFA Graduate

We are destroying the Earth. And I am not enough. How do I handle my anxiety over climate change? I´m doing handles. I call my handles Deforestation, Petroleum, Throwaway handle, Acquisitiveness and My skin is falling off. They are based on situations in my daily life, when I use material at the expense of the earth. They belong on a door, but more than everyday objects they are symbols of opening doors. Mostly my handles do not open doors, since my way of using material is not a way out.
 
© By the author. Read Klimt02.net Copyright.
Tua Marika. Piece: Fragment, 2017. Acrylic. BFA Graduate
. Body jewelry/objects
. 
. What happens in the meeting of different elements: the abstract and the figurative, the minimal and the complex, the organic and the man-made. In search of visual and emotional tensions, I’m exploring the body together with contrasting and interacting elements. Changing the context in which we view aspects of the body to see the alternative emotions that can be perceived, by purely adjusting the conditions.. Tua Marika
Piece: Fragment, 2017
Acrylic
BFA Graduate
Body jewelry/objects

What happens in the meeting of different elements: the abstract and the figurative, the minimal and the complex, the organic and the man-made. In search of visual and emotional tensions, I’m exploring the body together with contrasting and interacting elements. Changing the context in which we view aspects of the body to see the alternative emotions that can be perceived, by purely adjusting the conditions.
© By the author. Read Klimt02.net Copyright.
Tua Marika. Piece: Fragment, 2017. Acrylic. BFA Graduate
. Body jewelry/objects. Tua Marika
Piece: Fragment, 2017
Acrylic
BFA Graduate
Body jewelry/objects
© By the author. Read Klimt02.net Copyright.
Hanna Trygg. Object: Kindness/Darkness, 2017. Textile. Photo by: Ekaterina Lukoshkova. BFA Graduate
. Jewellery/Object
. 
. My process has been an exploration, through which I tried to capture feelings and memories of darkness. My darkness is not dangerous or unpleasant, but it's mysterious, cool, enclosing and friendly. Perhaps its has a touch of melancholy. By working with silk my aim has been to capture this kind darkness. It is in relation to the body my work gets it's context. The textile material has a strong connection to the body, we live our lives surrounded by it. The skin is especially the context, or the location for the project. The skin's way of meeting the fabric, the experience of that meeting is central for me in my work.
.  . Hanna Trygg
Object: Kindness/Darkness, 2017
Textile
Photo by: Ekaterina Lukoshkova
BFA Graduate
Jewellery/Object

My process has been an exploration, through which I tried to capture feelings and memories of darkness. My darkness is not dangerous or unpleasant, but it's mysterious, cool, enclosing and friendly. Perhaps its has a touch of melancholy. By working with silk my aim has been to capture this kind darkness. It is in relation to the body my work gets it's context. The textile material has a strong connection to the body, we live our lives surrounded by it. The skin is especially the context, or the location for the project. The skin's way of meeting the fabric, the experience of that meeting is central for me in my work.
 
© By the author. Read Klimt02.net Copyright.
Hanna Trygg. Object: Kindness/Darkness, 2017. Textile. Photo by: Ekaterina Lukoshkova. Detail viewBFA Graduate
. Jewellery/Object
. 
. My process has been an exploration, through which I tried to capture feelings and memories of darkness. My darkness is not dangerous or unpleasant, but it's mysterious, cool, enclosing and friendly. Perhaps its has a touch of melancholy. By working with silk my aim has been to capture this kind darkness. It is in relation to the body my work gets it's context. The textile material has a strong connection to the body, we live our lives surrounded by it. The skin is especially the context, or the location for the project. The skin's way of meeting the fabric, the experience of that meeting is central for me in my work.
.  . Hanna Trygg
Object: Kindness/Darkness, 2017
Textile
Photo by: Ekaterina Lukoshkova

Detail view
BFA Graduate
Jewellery/Object

My process has been an exploration, through which I tried to capture feelings and memories of darkness. My darkness is not dangerous or unpleasant, but it's mysterious, cool, enclosing and friendly. Perhaps its has a touch of melancholy. By working with silk my aim has been to capture this kind darkness. It is in relation to the body my work gets it's context. The textile material has a strong connection to the body, we live our lives surrounded by it. The skin is especially the context, or the location for the project. The skin's way of meeting the fabric, the experience of that meeting is central for me in my work.
 
© By the author. Read Klimt02.net Copyright.
Sara Bech-Hanssen. Body piece: Meltingpoint, 2017. Silver, enamel, thread.. Photo by: Ekaterina Lukoshkova. BFA Graduate
. 
. Transitioning state of matter. Specific time in a process. The hopefulness of spring. The hopelessness of the climate. Enamel at 830°c. This began with the color of copper oxides in industrial enamel. Abstract landscapes in brown, white and green. The line breaks the surface and creates perspective. The color gives depth. This is now a study of composition, movement, body and interaction. The material meets the room, the body and forms something new. The objects are completed by body and movement. I am interested in the artistic process in relation to practical knowledge and experience. Repetition gives me building blocks. Through repetition the hand takes over, a sense of total presence.
.  . Sara Bech-Hanssen
Body piece: Meltingpoint, 2017
Silver, enamel, thread.
Photo by: Ekaterina Lukoshkova
BFA Graduate

Transitioning state of matter. Specific time in a process. The hopefulness of spring. The hopelessness of the climate. Enamel at 830°c. This began with the color of copper oxides in industrial enamel. Abstract landscapes in brown, white and green. The line breaks the surface and creates perspective. The color gives depth. This is now a study of composition, movement, body and interaction. The material meets the room, the body and forms something new. The objects are completed by body and movement. I am interested in the artistic process in relation to practical knowledge and experience. Repetition gives me building blocks. Through repetition the hand takes over, a sense of total presence.
 
© By the author. Read Klimt02.net Copyright.
Sara Bech-Hanssen. Body piece: Meltingpoint, 2017. Silver, enamel, thread.. Photo by: Ekaterina Lukoshkova. Detail viewBFA Graduate
. 
. Transitioning state of matter. Specific time in a process. The hopefulness of spring. The hopelessness of the climate. Enamel at 830°c. This began with the color of copper oxides in industrial enamel. Abstract landscapes in brown, white and green. The line breaks the surface and creates perspective. The color gives depth. This is now a study of composition, movement, body and interaction. The material meets the room, the body and forms something new. The objects are completed by body and movement. I am interested in the artistic process in relation to practical knowledge and experience. Repetition gives me building blocks. Through repetition the hand takes over, a sense of total presence.
.  . Sara Bech-Hanssen
Body piece: Meltingpoint, 2017
Silver, enamel, thread.
Photo by: Ekaterina Lukoshkova

Detail view
BFA Graduate

Transitioning state of matter. Specific time in a process. The hopefulness of spring. The hopelessness of the climate. Enamel at 830°c. This began with the color of copper oxides in industrial enamel. Abstract landscapes in brown, white and green. The line breaks the surface and creates perspective. The color gives depth. This is now a study of composition, movement, body and interaction. The material meets the room, the body and forms something new. The objects are completed by body and movement. I am interested in the artistic process in relation to practical knowledge and experience. Repetition gives me building blocks. Through repetition the hand takes over, a sense of total presence.
 
© By the author. Read Klimt02.net Copyright.
Felicia Riisager. Piece: Samling, 2017. Copper, Enamel. Photo by: Ekaterina Lukoshkova. BFA Graduate
. Jewellery/Object
. 
. I create new shapes based on many smaller forms. Just as I see how plants in nature are built out of many small parts. I turn to nature to find inspiration. When we look at and understand how nature is built, we can begin to manufacture and depict it based on our own head. Seed by seed and part by part. I can build my own imaginary nature. Creating a new reality. Together, my items become a collection. Like a collection of items someone picked up on the beach or in the woods. Or as a natural cabinet in a museum, with carefully chosen objects.
.  . Felicia Riisager
Piece: Samling, 2017
Copper, Enamel
Photo by: Ekaterina Lukoshkova
BFA Graduate
Jewellery/Object

I create new shapes based on many smaller forms. Just as I see how plants in nature are built out of many small parts. I turn to nature to find inspiration. When we look at and understand how nature is built, we can begin to manufacture and depict it based on our own head. Seed by seed and part by part. I can build my own imaginary nature. Creating a new reality. Together, my items become a collection. Like a collection of items someone picked up on the beach or in the woods. Or as a natural cabinet in a museum, with carefully chosen objects.
 
© By the author. Read Klimt02.net Copyright.
Felicia Riisager. Piece: Samling, 2017. Copper, Enamel. Photo by: Ekaterina Lukoshkova. Detail viewBFA Graduate
. Jewellery/Object
. 
. I create new shapes based on many smaller forms. Just as I see how plants in nature are built out of many small parts. I turn to nature to find inspiration. When we look at and understand how nature is built, we can begin to manufacture and depict it based on our own head. Seed by seed and part by part. I can build my own imaginary nature. Creating a new reality. Together, my items become a collection. Like a collection of items someone picked up on the beach or in the woods. Or as a natural cabinet in a museum, with carefully chosen objects.
.  . Felicia Riisager
Piece: Samling, 2017
Copper, Enamel
Photo by: Ekaterina Lukoshkova

Detail view
BFA Graduate
Jewellery/Object

I create new shapes based on many smaller forms. Just as I see how plants in nature are built out of many small parts. I turn to nature to find inspiration. When we look at and understand how nature is built, we can begin to manufacture and depict it based on our own head. Seed by seed and part by part. I can build my own imaginary nature. Creating a new reality. Together, my items become a collection. Like a collection of items someone picked up on the beach or in the woods. Or as a natural cabinet in a museum, with carefully chosen objects.
 
© By the author. Read Klimt02.net Copyright.
Appreciate APPRECIATE