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

Exhibition  /  NewTalentsByKlimt02  /  22 May 2021  -  28 May 2021
Published: 08.06.2021
Glass work by Rasmus Nossbring..
Glass work by Rasmus Nossbring.

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Intro
Master Degree show 2021 of Konstfack University of Arts, Craft and Design takes place from 22 - 28 May on the campus. Selected graduation works are featured from the Master’s programme CRAFT! practice including the disciplines of ceramics, glass, jewellery and corpus and textiles.
Check all MA students' work on the school website.

Artist list

Teresa Alton Borgelin, Sofia Bahlner, Fredda Berg, Hannah Blitz Heyman, Hannah-Molly Brown, Lea Constan, Andrea Forslund Grath, Sofi Gunnstedt, Josefin Gäfvert, Yingyun Jiang, Åsa Johansson, Sara Kallioinen Lundgren, Kristina Kirkkopelto, Laura Johanna König, Hazel Mallon, Karen Modrei, Veronika Muráriková, Frida Nordenlöw, Amanda Nordqvist, Rasmus Nossbring, Lisa Maria Pettersson, Sofia Sipsa, Egle Sitkauskaite, Elin Sundström
Craft has always been about resilience. Drawing on centuries of material tradition and embodied experience, it continually adapts to present circumstances and imagined futures. It bends, resists and transforms. Embracing technology, engaging with discourse, yet remaining grounded. It is these universal qualities of craft that have made it particularly relevant and meaningful in these unsettling times.
This year’s 24 graduates from the Master’s programme CRAFT! have demonstrated this resilience, in both their making and their theoretical practices. Continually having to adjust to the constraints and uncertainty of our Covid-era, they have found strength and purpose. The student body is international and the themes of their practice reflect a critical engagement with themes of social, environmental and political importance. Here you will find work that questions the meaning of identity, migration and home, alongside that of science fiction, simulation, death phobia and loss. There is story-telling and alchemy, as well as everyday ritual, hip hop and rewilding. Norm-critical approaches to material and object, including hydrofeminism, queer assemblage and new materialism, add further to the rich diversity of this year’s exhibition.
Underpinning all the work is a deep engagement with the concepts of materiality and making. Through the disciplines of ceramics, glass, jewellery and corpus and textiles, the Master’s programme CRAFT! practice embraces human connection, empathy and meaning; something we all need today, but it is not a reactionary refuge from the world. Instead, the work continually strives to challenge and interrogate the ways we make and think. It is this that makes craft so enduring.

Hands, minds, craft.
/ Andrea Peach, Professor of Craft History and Theory and Master’s programme CRAFT!

 
Sofia Bahlner. Installation: Experimania, 2021. Various textile materials from a load of fibers and manly waste materials.. 3 x 3 x 1.8 cm. Statement: Structures and surfaces have always been my focal point in all kinds of projects. My starting point is the creation of the details on the surface and I work my way through the piece using a practice-based method that takes me beyond my initial idea and leads me to creations of tactile structures I couldn’t have imagined beforehand. It fascinates me to see how materials and techniques can be mixed, manipulated, joined, and misapplied to create unexpected elements and to make it challenging for the viewer to understand how it is made or what it consists of, in order to awaken curiosity in textiles. Coming from the fashion field, I still hold on to the haute couture approach and work with time-consuming handwork but in the degree exhibition, I have chosen to materialise it through a spatial installation, letting carpet meet sculpture. I see my work as a giant swatch sample, a patchwork of inspiration, or as an objectified research book, where parts of the piece can be selected as an individual artwork or as a starting point for a new project.Unique piece.. Sofia Bahlner
Installation: Experimania, 2021
Various textile materials from a load of fibers and manly waste materials.
3 x 3 x 1.8 cm

Statement: Structures and surfaces have always been my focal point in all kinds of projects. My starting point is the creation of the details on the surface and I work my way through the piece using a practice-based method that takes me beyond my initial idea and leads me to creations of tactile structures I couldn’t have imagined beforehand. It fascinates me to see how materials and techniques can be mixed, manipulated, joined, and misapplied to create unexpected elements and to make it challenging for the viewer to understand how it is made or what it consists of, in order to awaken curiosity in textiles. Coming from the fashion field, I still hold on to the haute couture approach and work with time-consuming handwork but in the degree exhibition, I have chosen to materialise it through a spatial installation, letting carpet meet sculpture. I see my work as a giant swatch sample, a patchwork of inspiration, or as an objectified research book, where parts of the piece can be selected as an individual artwork or as a starting point for a new project.
Unique piece.
© By the author. Read Klimt02.net Copyright.
Sofia Bahlner. Installation: Experimania, 2021. Various textile materials from a load of fibers and manly waste materials.. 3 x 3 x 1.8 cm. Unique piece.. Sofia Bahlner
Installation: Experimania, 2021
Various textile materials from a load of fibers and manly waste materials.
3 x 3 x 1.8 cm
Unique piece.
© By the author. Read Klimt02.net Copyright.
Teresa Alton Borgelin. Brooch: Who I Am and Who You See, 2021. Gold, silver, brass, enamel, hair.. 8 x 1.5 x 18 cm. Photo by: Teresa Alton Borgelin. Unique piece.
. 
. Statement: Identity is not only about how we see and define ourselves, it is also shaped by the gazes of other people and the society we live in. In my degree project, Who I Am and Who You See, my experiences of being transnational adopted become the starting point for my project which investigates the interplay of personal and social identity and how we classify things in our environment, including appearance. The color of the skin leads to questions about norms, inclusion, and exclusion. My brooches become conversation pieces that reflect on value and power, but also about care and heritage. Interviews with other adoptees, as part of my research, concerning issues on how we perceive ourselves in relation to how other people perceive us.. Teresa Alton Borgelin
Brooch: Who I Am and Who You See, 2021
Gold, silver, brass, enamel, hair.
8 x 1.5 x 18 cm
Photo by: Teresa Alton Borgelin
Unique piece.

Statement: Identity is not only about how we see and define ourselves, it is also shaped by the gazes of other people and the society we live in. In my degree project, Who I Am and Who You See, my experiences of being transnational adopted become the starting point for my project which investigates the interplay of personal and social identity and how we classify things in our environment, including appearance. The color of the skin leads to questions about norms, inclusion, and exclusion. My brooches become conversation pieces that reflect on value and power, but also about care and heritage. Interviews with other adoptees, as part of my research, concerning issues on how we perceive ourselves in relation to how other people perceive us.
© By the author. Read Klimt02.net Copyright.
Teresa Alton Borgelin. Brooch: Who I Am and Who You See, 2021. Iron, leather, sinew, stainless steel.. 8 x 1.8 x 8 cm; 8 x 1.8 x 15 cm. Photo by: Teresa Alton Borgelin. Unique piece.. Teresa Alton Borgelin
Brooch: Who I Am and Who You See, 2021
Iron, leather, sinew, stainless steel.
8 x 1.8 x 8 cm; 8 x 1.8 x 15 cm
Photo by: Teresa Alton Borgelin
Unique piece.
© By the author. Read Klimt02.net Copyright.
Hannah Molly Brown. Textile: Untitled, 2021. Tool roll opened. Iron dyed old sheet. Printed with a narrative of hands demonstrating the humanity in craft and the ability of reusing. The nomadic nature of handcraft offers emancipation.. 
. Statement: How can craft be a tool for humbling and empowering humanity? Since spending time in Peru, I have developed a strong understanding that our relationship to materials, particularly crafted items, demonstrates and is also able to change, our understanding of people and cultures. Where we come to value the makers behind objects, we can learn to become a less disposable society, as we come to understand the humanity in the craft. I aim to encourage reflection and inspiration, to move mindsets away from disposable culture. It is the humanity in crafts that unifies, inspires, and records. Within our own hands lies the power for understanding and change. I work with recycled materials if textiles, wood, and steel.. Hannah Molly Brown
Textile: Untitled, 2021
Tool roll opened. Iron dyed old sheet. Printed with a narrative of hands demonstrating the humanity in craft and the ability of reusing. The nomadic nature of handcraft offers emancipation.

Statement: How can craft be a tool for humbling and empowering humanity? Since spending time in Peru, I have developed a strong understanding that our relationship to materials, particularly crafted items, demonstrates and is also able to change, our understanding of people and cultures. Where we come to value the makers behind objects, we can learn to become a less disposable society, as we come to understand the humanity in the craft. I aim to encourage reflection and inspiration, to move mindsets away from disposable culture. It is the humanity in crafts that unifies, inspires, and records. Within our own hands lies the power for understanding and change. I work with recycled materials if textiles, wood, and steel.
© By the author. Read Klimt02.net Copyright.
Hannah Molly Brown. Installation: Untitled, 2021. Steel, old frames and glass. Textile piece dyed with iron and printed with the statement: Craft value is human value. The relationship we hold to craft is proportional to our relationship with humanity as a society.. Hannah Molly Brown
Installation: Untitled, 2021
Steel, old frames and glass. Textile piece dyed with iron and printed with the statement: Craft value is human value. The relationship we hold to craft is proportional to our relationship with humanity as a society.
© By the author. Read Klimt02.net Copyright.
Veronika Muráriková. Piece: Have you heard my jewellery?, 2021. Porcelain, aluminum, silver.. 30 x 15 x 3 cm. Photo by: Veronika Muráriková. Hand rattle. Unique piece.
. 
. Statement: ‘Have you heard my jewellery?’ is an ongoing experimental research-based project developed as a part of Veronika’s graduation work at Konstfack, Sweden. In this project, jewellery becomes a tool for exploring the notion of sonic aura - an incorporeal feature of objects and bodies that enhances their materiality and physical presence, often while taking up imaginative meanings. Through extensive exploration of the history of sounding jewellery and merging fundamentally different realms, Veronika speculates about the importance of sound within contemporary craft culture and the transition of sensorial qualities of materials into a digital setting.. Veronika Muráriková
Piece: Have you heard my jewellery?, 2021
Porcelain, aluminum, silver.
30 x 15 x 3 cm
Photo by: Veronika Muráriková
Hand rattle. Unique piece.

Statement: ‘Have you heard my jewellery?’ is an ongoing experimental research-based project developed as a part of Veronika’s graduation work at Konstfack, Sweden. In this project, jewellery becomes a tool for exploring the notion of sonic aura - an incorporeal feature of objects and bodies that enhances their materiality and physical presence, often while taking up imaginative meanings. Through extensive exploration of the history of sounding jewellery and merging fundamentally different realms, Veronika speculates about the importance of sound within contemporary craft culture and the transition of sensorial qualities of materials into a digital setting.
© By the author. Read Klimt02.net Copyright.
Veronika Muráriková. Chain: Have you heard my jewellery?, 2021. Porcelain, aluminum.. 50 x 6 x 5 cm. Photo by: Michelle Bondulich. Unique piece.. Veronika Muráriková
Chain: Have you heard my jewellery?, 2021
Porcelain, aluminum.
50 x 6 x 5 cm
Photo by: Michelle Bondulich
Unique piece.
© By the author. Read Klimt02.net Copyright.
Work by Sofia Sipsa. The roses are cast in pewter..
Work by Sofia Sipsa. The roses are cast in pewter.

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Work by Sofia Sipsa.
. Statement: The oysters have a back made in electroformed copper and the inside have engraved text from one of the poems that I have written in Swedish..
Work by Sofia Sipsa.
Statement: The oysters have a back made in electroformed copper and the inside have engraved text from one of the poems that I have written in Swedish.

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Egle Sitkauskaite. Object: Migrating Identity, 2021. Cooper, silver and gold- plating stainless steel.. 4 x 7 x 8 cm. Photo by: Kotryna Juskaite. Unique piece.
. Wearable objects: Pendant or brooch.
. 
. Statement: My degree project revolves around the feeling of belonging and the notion of home, in times of transition, longing for what is left behind, and yet staying in between. I capture the ideas of places and identity transformation through materiality. The wood bending becomes a metaphor for the human ability to adapt to the new environment and jewellery being a vessel encapsulated with memories that people carry with them.. Egle Sitkauskaite
Object: Migrating Identity, 2021
Cooper, silver and gold- plating stainless steel.
4 x 7 x 8 cm
Photo by: Kotryna Juskaite
Unique piece.
Wearable objects: Pendant or brooch.

Statement: My degree project revolves around the feeling of belonging and the notion of home, in times of transition, longing for what is left behind, and yet staying in between. I capture the ideas of places and identity transformation through materiality. The wood bending becomes a metaphor for the human ability to adapt to the new environment and jewellery being a vessel encapsulated with memories that people carry with them.
© By the author. Read Klimt02.net Copyright.
Egle Sitkauskaite. Sculpture: Migrating Identity, 2021. Ash and oak wood.. 60 x 100 x 170 cm. Photo by: Kotryna Juskaite. Unique piece.. Egle Sitkauskaite
Sculpture: Migrating Identity, 2021
Ash and oak wood.
60 x 100 x 170 cm
Photo by: Kotryna Juskaite
Unique piece.
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Work by Hannah Blitz Heyman..
Work by Hannah Blitz Heyman.

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Work by Hannah Blitz Heyman..
Work by Hannah Blitz Heyman.

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Work by Yingyun Jiang. .
Work by Yingyun Jiang.

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