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Konstfack University of Arts, Craft and Design. BA Degree Show 2021

Exhibition  /  NewTalentsByKlimt02  /  08 May 2021  -  14 May 2021
Published: 07.06.2021
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Intro
Bachelor's degree show 2021 of Konstfack University of Arts, Craft and Design takes place from 8 - 14 May on the campus. Selected graduation work from the subject of Ädellab (Jewellery and Corpus) and Ceramics & Glass are featured on this page.
Check all BA students' work on the school website.

Artist list

Johanna Bylén, Elias Dahl, Cornelia Dahlin, Layne Ellis, Judit Fritz, Mio Elias Halvarsson, Tilde Hansen, Hanna Hjalmarsson, Christian Håkansson, Lauro Höring, Tilda Järnblad, Silje Lingas, Emma Nygård Stare, Helena Perminger, Malin Pierre, Miranda Renberg, Isabel Tegström, My Winther, Olle Wärme
About Ädellab (Jewellery and Corpus): Becoming Interested
The word ‘interest’ – from Latin inter ‘between’ and esse ‘be’– brings about a sense of involvement with the world. ‘Being between’ defines a clear position and relation to what or who is around us and extends beyond us; being interested as being related, present and attentive. Becoming interested is an essential part in the process of gaining a perspective that is specific and relational, rooted in place and time.
Becoming interested is to understand that nothing exists apart from its relations.
Over the past three years of their education, the graduating students have defined their interests, following them down wondrous routes and have rendered vivid maps of their practices; it is here that we meet their perspectives and visions.

/ Beatrice Brovia, Senior Lecturer in Craft specialising in Jewellery

About Ceramics and Glass:
It is quite common for our new students to wonder just what type of programme they’ve actually ended up in. Everybody seems to be doing completely different things and have completely different artistic orientations and interests. Is there anything at all they have in common besides the materials glass and clay? It is true that the education spans a wide area. There are few boundaries in contemporary crafts. In some ways, it’s even freer than the liberal arts. For a student of glass and ceramics, it’s just as legitimate to focus your interest in a craft-based utility tradition than in the contemporary art tradition.
Contemporary crafts could be defined as a meeting between the craft traditions associated with our materials and contemporary views about what art is. This means that every practitioner in the field must take a stand on all the paradoxes and dilemmas that arise in the field of tension between craft’s endurance and contemporary art’s quest for the new and transboundary. The students must, individually, figure out what they want to express and how they will do this. Priorities and choices must be continuously negotiated in relation to artistic intent.
Finding your expression requires hard work, and this year’s bachelor’s students have had to confront not only the resistance offered by their own artistic practice, but also the limitations and obstacles brought by the ongoing pandemic. Yet this dual resistance is not discernible in the works presented here. Or is it? Could it be that what is meaningful and what must be expressed are able to emerge more clearly in these trying times? What is sure at any rate is that this year’s students are exhibiting many interesting works that clearly show the breadth and diversity in contemporary crafts.

/ Mårten Medbo, Senior Lecturer in Ceramics
 
Johanna Bylén. Installation: Common Ground, 2021. Ceramics, sand-cast glass, photo on aluminium.. Photo: 140 x 105 cm; Ceramic: Ø 30 - 70 cm; Glass: Ø 25 - 45 cm. Photo by: Johanna Bylén. Unique piece.. Johanna Bylén
Installation: Common Ground, 2021
Ceramics, sand-cast glass, photo on aluminium.
Photo: 140 x 105 cm; Ceramic: Ø 30 - 70 cm; Glass: Ø 25 - 45 cm
Photo by: Johanna Bylén
Unique piece.
© By the author. Read Klimt02.net Copyright.
Johanna Bylén. Installation: Common Ground, 2021. Ceramics, sand-cast glass, photo on aluminium.. Photo: 140 x 105 cm; Ceramic: Ø 30 - 70 cm; Glass: Ø 25 - 45 cm. Photo by: Johanna Bylén. Alternative view. Unique piece.. Johanna Bylén
Installation: Common Ground, 2021
Ceramics, sand-cast glass, photo on aluminium.
Photo: 140 x 105 cm; Ceramic: Ø 30 - 70 cm; Glass: Ø 25 - 45 cm
Photo by: Johanna Bylén

Alternative view.
Unique piece.
© By the author. Read Klimt02.net Copyright.
Judit Fritz. Object: Electrolyte, 2021. Silver, brass, glass, pearl.. 10 x 5 x 5 cm. Photo by: Judit Fritz. Crystallization chamber for tears. 
. 
. Statement: How much of the ocean have I filtered while in tears? Many times, while growing up on an island have I laid eyes on the enormous surrounding body of water and wondered – is the sorrow still in there? In small portions, the human body and the bodies of nature expose each other as part of their own content. Offering a glimpse into a constant material flow. Diffusing the boundaries between object and subject. A material flow that makes it impossible to tell what anything really is, because it has already evolved. My tears taste like the ocean. So does my sweat. I find comfort in knowing I constantly take part in something that is beyond my human comprehension. That I don’t need to fully understand why I am here, because it is obvious that I, and everyone else play a part. We just don’t know the whole scene.
.  . Judit Fritz
Object: Electrolyte, 2021
Silver, brass, glass, pearl.
10 x 5 x 5 cm
Photo by: Judit Fritz
Crystallization chamber for tears.

Statement: How much of the ocean have I filtered while in tears? Many times, while growing up on an island have I laid eyes on the enormous surrounding body of water and wondered – is the sorrow still in there? In small portions, the human body and the bodies of nature expose each other as part of their own content. Offering a glimpse into a constant material flow. Diffusing the boundaries between object and subject. A material flow that makes it impossible to tell what anything really is, because it has already evolved. My tears taste like the ocean. So does my sweat. I find comfort in knowing I constantly take part in something that is beyond my human comprehension. That I don’t need to fully understand why I am here, because it is obvious that I, and everyone else play a part. We just don’t know the whole scene.
 
© By the author. Read Klimt02.net Copyright.
Judit Fritz. Piece: Electrolyte, 2021. Silver, brass, glass, pearls, silicone.. 10 x 6 x 8 cm. Photo by: Judit Fritz. Facial jewellery. Unique piece.. Judit Fritz
Piece: Electrolyte, 2021
Silver, brass, glass, pearls, silicone.
10 x 6 x 8 cm
Photo by: Judit Fritz
Facial jewellery. Unique piece.
© By the author. Read Klimt02.net Copyright.
Judit Fritz. Piece: Electrolyte, 2021. Silver, brass, glass, pearls, silicone.. 10 x 6 x 8 cm. Photo by: Judit Fritz. Alternative view. Facial jewellery. Unique piece.. Judit Fritz
Piece: Electrolyte, 2021
Silver, brass, glass, pearls, silicone.
10 x 6 x 8 cm
Photo by: Judit Fritz

Alternative view.
Facial jewellery. Unique piece.
© By the author. Read Klimt02.net Copyright.
Hanna Hjalmarsson. Sculpture: Crusher, 2020. Stoneware, glaze.. Height: 80 cm. From series: Gravel. Statement: The stone is crushed. Broken down. Sieved. Transformed. Becomes something else. Me and my younger brother both work with stone in a way. But our lives are so different. In this project I have reflected upon our life choices and how different they are valued. In this work the process of crushing gravel is used as a symbol for the class journey and for manual labour – the processes that affect me and my younger brother. . Hanna Hjalmarsson
Sculpture: Crusher, 2020
Stoneware, glaze.
Height: 80 cm
From series: Gravel
Statement: The stone is crushed. Broken down. Sieved. Transformed. Becomes something else. Me and my younger brother both work with stone in a way. But our lives are so different. In this project I have reflected upon our life choices and how different they are valued. In this work the process of crushing gravel is used as a symbol for the class journey and for manual labour – the processes that affect me and my younger brother. 
© By the author. Read Klimt02.net Copyright.
The stars always make me laugh! Work by Lauro Höring. .
The stars always make me laugh! Work by Lauro Höring.

© By the author. Read Klimt02.net Copyright.
The stars always make me laugh! Work by Lauro Höring. .
The stars always make me laugh! Work by Lauro Höring.

© By the author. Read Klimt02.net Copyright.
Malin Pierre. Sculpture: Yellow Ribbon, 2021. Glass.. 15 x 35 cm. Photo by: Kristoffer Marchi. From series: Hard Softness. Unique piece.
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. Statement: My work is a material investigation in glass and the transformation from soft to hard. The originals are made out of fabric with inspiration from fashion and haute couture. The shapes and the structure is abstract with a sense of soft fabric. It´s like a frozen moment in time.. Malin Pierre
Sculpture: Yellow Ribbon, 2021
Glass.
15 x 35 cm
Photo by: Kristoffer Marchi
From series: Hard Softness
Unique piece.

Statement: My work is a material investigation in glass and the transformation from soft to hard. The originals are made out of fabric with inspiration from fashion and haute couture. The shapes and the structure is abstract with a sense of soft fabric. It´s like a frozen moment in time.
© By the author. Read Klimt02.net Copyright.
Malin Pierre. Sculpture: Ice Powder, 2021. Glass.. 40 x 25 cm. Photo by: Kristoffer Marchi. Unique piece.. Malin Pierre
Sculpture: Ice Powder, 2021
Glass.
40 x 25 cm
Photo by: Kristoffer Marchi
Unique piece.
© By the author. Read Klimt02.net Copyright.
Miranda Renberg. Sculpture: Replika på replika, 2021. Textile, aluminum, acrylic paint.. Unique piece.
. 
. Statement: In my soft room of textile, aluminum, and painting I have investigated the conception of self and the creation of identity in a hyper-real world. Here I blend and merge body and staged object, asking how we stage our identity in our home and how objects relate to identity and body. How do we stage ourselves? What is real, the image or the image of the image?. Miranda Renberg
Sculpture: Replika på replika, 2021
Textile, aluminum, acrylic paint.
Unique piece.

Statement: In my soft room of textile, aluminum, and painting I have investigated the conception of self and the creation of identity in a hyper-real world. Here I blend and merge body and staged object, asking how we stage our identity in our home and how objects relate to identity and body. How do we stage ourselves? What is real, the image or the image of the image?
© By the author. Read Klimt02.net Copyright.
My Winther. Sculpture: The Importance of the Immeasurable, 2021. Copper, silver., steel.. Statement: The human mind can be manipulated, repressed and adjusted in harmful and painful conditions. The consequences cannot immediately be seen, but the body has limitations in its biology and in its ability to adjust. When that limit is reached, conditions of illness arise which are manifested by both mental and physical symptoms. I have divided my work into three main parts to show the importance of the immeasurable. Pars meí is about medication for mental illness and the struggles of accepting a medication that some consider unnecessary. Mental illness cannot be proven through blood samples or other measurable tests and therefore it is not possible to prove the importance of medication in the same way as with measurable illnesses. Depressio is about how suppressing emotions and forbidden behaviors can lead to illness. Socio patologicus is about the important emotional work healthcare staff perform and the workload it entails but is not taken into account because it is not measurable. A work about what has been lost, denied, and neglected due to its immeasurable existence.. My Winther
Sculpture: The Importance of the Immeasurable, 2021
Copper, silver., steel.
Statement: The human mind can be manipulated, repressed and adjusted in harmful and painful conditions. The consequences cannot immediately be seen, but the body has limitations in its biology and in its ability to adjust. When that limit is reached, conditions of illness arise which are manifested by both mental and physical symptoms. I have divided my work into three main parts to show the importance of the immeasurable. Pars meí is about medication for mental illness and the struggles of accepting a medication that some consider unnecessary. Mental illness cannot be proven through blood samples or other measurable tests and therefore it is not possible to prove the importance of medication in the same way as with measurable illnesses. Depressio is about how suppressing emotions and forbidden behaviors can lead to illness. Socio patologicus is about the important emotional work healthcare staff perform and the workload it entails but is not taken into account because it is not measurable. A work about what has been lost, denied, and neglected due to its immeasurable existence.
© By the author. Read Klimt02.net Copyright.
My Winther. Object: The Importance of the Immeasurable, 2021. Copper, silver.. My Winther
Object: The Importance of the Immeasurable, 2021
Copper, silver.
© By the author. Read Klimt02.net Copyright.
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