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Open Call for the MFA Programme in Crafts, Jewellery Art 2021

Open call  /  16 Mar 2021  -  16 Apr 2021
Published: 16.03.2021
Staffan Jonsson. Object: Daily Observations as Jewellery, 2020. Silver, niello, stainless steel.. Various sizes. Staffan Jonsson
Object: Daily Observations as Jewellery, 2020
Silver, niello, stainless steel.
Various sizes
© By the author. Read Klimt02.net Copyright.

Intro
The master’s programme in Crafts specializing in jewellery art is based on an artistic exploration through materials and concepts.
 
MFA Programme in Crafts, Jewellery Art
As a student of the programme, you will gain a deeper understanding of the material, explore the potential of jewellery art for artistic depiction, and investigate the relationship between humans and artifacts. You will develop skill-based knowledge and enhance your execution of artistic work based on your own artistic inquiries within jewellery art.

If you choose to specialize in jewellery art, you will have great possibilities to work in various materials. In the department’s well-equipped workshop, you will find machines and tools for working with smithery, soldering, casting, etching, enamelling, anodizing, and 3-d printing, for example.

Are you curious about previous students' work?
See the 2020 MA Degree Project: craftlaboratory.org

More information about instructions for application: gu.se/en/study-gothenburg/apply-for-mfa-programme-in-crafts

For questions regarding the programme and application, please contact Prof.Yuka Oyama: yuka.oyama@gu.se

 
Ruth Elvira Gilmour. Textile: Frayed Bodies: Loose Gatherings - Arm, 2020. Digital print on silk.. 62 x 43 x 0.01 cm. Photo by: Ruth Elvira Gilmour. . Ruth Gilmour deals in her work with her own vulnerability, which she addresses through craftsmanship. These are special issues in the current situation with regard to working from home under health considerations. Ruth Gilmour’s textile works question the unified and self-contained self and show the diversity of physical nature and the various concepts of being. Own experiences and memories are implemented in both traditionally crafted and modern digital processes. The starting point for the work is worried about the state of the world and one's own health, which should find a solution in the combination of body and material. Ruth Gilmour, therefore, uses materials such as silk with its transparency, delicacy, and strength to depict skin and bones, to symbolize sensitivity and contrasts. She sees the choice of silk as problematic, as silk on the one hand forms a pleasant, comforting material, but on the other hand, it is obtained by destroying the protective cocoons of other living beings. Her work is based on digital photographs of her own body, which are digitally printed on silk and then processed with a needle, whereby the image is deconstructed and alienated, the material being dissolved to form fringes, which in turn are reminiscent of old communication systems. By dividing, fraying, folding, and knotting, the body is multiplied by innumerable threads coloured by information. Similar to the body itself, the work is constantly changing. . .   .  Contact the artist for price  .  . Ruth Elvira Gilmour
Textile: Frayed Bodies: Loose Gatherings - Arm, 2020
Digital print on silk.
62 x 43 x 0.01 cm
Photo by: Ruth Elvira Gilmour

Ruth Gilmour deals in her work with her own vulnerability, which she addresses through craftsmanship. These are special issues in the current situation with regard to working from home under health considerations. Ruth Gilmour’s textile works question the unified and self-contained self and show the diversity of physical nature and the various concepts of being. Own experiences and memories are implemented in both traditionally crafted and modern digital processes. The starting point for the work is worried about the state of the world and one's own health, which should find a solution in the combination of body and material. Ruth Gilmour, therefore, uses materials such as silk with its transparency, delicacy, and strength to depict skin and bones, to symbolize sensitivity and contrasts. She sees the choice of silk as problematic, as silk on the one hand forms a pleasant, comforting material, but on the other hand, it is obtained by destroying the protective cocoons of other living beings. Her work is based on digital photographs of her own body, which are digitally printed on silk and then processed with a needle, whereby the image is deconstructed and alienated, the material being dissolved to form fringes, which in turn are reminiscent of old communication systems. By dividing, fraying, folding, and knotting, the body is multiplied by innumerable threads coloured by information. Similar to the body itself, the work is constantly changing.

 
© By the author. Read Klimt02.net Copyright.
Oskar Summerton. Hammer: Making Tools, 2020. Recycled wood, steel.. Photo by: Oskar Summerton. Oskar Summerton
Hammer: Making Tools, 2020
Recycled wood, steel.
Photo by: Oskar Summerton
© By the author. Read Klimt02.net Copyright.
Making a Hammer with basic hand tools in a small workspace by Oskar Summerton.

© By the author. Read Klimt02.net Copyright.
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