HDK-Valand Academy of Art and Design
School
Published: 08.11.2024
- Mail:
- lina.petersson.2
gu.se - ammeli.engstromgu.se
- Management:
- Lina Petersson, Ammeli Engström
We believe in diversity. At the Jewellery Art programme at HDK-Valand Academy of Art and Design we supply our students with well-equipped workshops, challenging projects and time for free exploration during their journey towards finding a unique artistic voice.
Working with traditional techniques and investigating modern design approaches generates various opportunities in the jewellery art field. The Academy premises in Gothenburg, originally built in 1904, house Design, Textile Art, Ceramic Art and Jewellery Art programmes in an open atmosphere where students cross-share knowledge. Our teachers are active artists and we strive to keep close contact with the art community and society on both the local and the global scenes.
As a student, you are encouraged to research materials and artistic ideas individually and in groups. International artists are invited as guest teachers to provide new perspectives. You will improve your skills to present and discuss your work. Artistic practice combined with reflection helps you grow a strong identity as an artist.
The Jewellery Art programme at HDK-Valand Academy of Art and Design is a part of the Faculty of Fine, Applied and Performing Arts at the University of Gothenburg.
HDK–Valand offers Bachelor’s, Master’s and Doctoral degree programmes.
Management contacts:
Lina Petersson MFA: lina.petersson.2@gu.se
Ammeli Engström BFA: ammeli.engstrom@gu.se
As a student, you are encouraged to research materials and artistic ideas individually and in groups. International artists are invited as guest teachers to provide new perspectives. You will improve your skills to present and discuss your work. Artistic practice combined with reflection helps you grow a strong identity as an artist.
The Jewellery Art programme at HDK-Valand Academy of Art and Design is a part of the Faculty of Fine, Applied and Performing Arts at the University of Gothenburg.
HDK–Valand offers Bachelor’s, Master’s and Doctoral degree programmes.
Management contacts:
Lina Petersson MFA: lina.petersson.2@gu.se
Ammeli Engström BFA: ammeli.engstrom@gu.se
Courses
MFA Programme in Crafts, Jewellery Art 2025
28Aug2025 - 16Jan2027DEADLINE: 15/Jan/2025
Application
Tags: ProfessionalPractice , CriticalThinking
Do you want to investigate the possibilities in jewellery art at MA Craft, HDK-Valand Academy of Art and Design? The education in Craft at HDK-Valand provides a comprehensive understanding of the contexts of craft making / jewellery art and the intersections between education, research and society.
All societies need reference points to form their future and to orient themselves in the present. Crafts constitute such a reference point through their associations with human needs and activities. The subject of crafts extends from tradition to science, forming an exciting, artistic arena. The master’s programme in Crafts at the Academy of Design and Crafts in Gothenburg is an all-encompassing environment that involves constant exchange and interaction between undergraduate education, research, and society.
MA Craft at HDK-Valand is a two-year programme. The programme includes specializations in Ceramic Art, Jewellery Art, Textile Art, Metal Art and Textile-Body-Space. Students choose their specialization as part of the application process.
Are you curious about previous students' work?
See also what we are doing at Instagram @hdk_valand_jewelleryart
The master’s program in Crafts specializing in jewellery art is based on an artistic exploration through materials and concepts. 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.
Read more here
Programme structure and content
In the first year, you will explore concepts of publicness and the roles of art and artists in society and try out artistic research. You'll learn to identify topics to work with, experiment with artistic production, analyse theories, and hone your writing skills. During the second term, you will participate in an elective course, broadening your knowledge alongside students from other specializations. Students apply for the elective courses based on an annual course offering.
The second year deepens your artistic research abilities, with a focus on artistic strategies, media, materials, decision-making, and theoretical relevance. In the third term, you will compose a substantial text on a key area of interest, continuing with production and planning for the public dissemination of your work. The final term is dedicated to the production, contextualization, and public dissemination of your artistic project, culminating in a cooperative project with classmates, faculty, and external partners.
BFA Programme in Crafts, Jewellery Art 2025
01Sep2025 - 04Jun2028DEADLINE: 03/Mar/2025
Application
Tags: ProfessionalPractice , CriticalThinking
Management person: Klara Brynge
Studies are only in Swedish language.
The BFA programme in crafts with specialization in jewellery art is taught in Swedish. More information about applying and about the content programme will be found on HDK-Valands website in Swedish.
The programme is 180 credits (ECTS) and runs over six semesters.
Application dates: from 20 Jan 2025 to 3 Mar 2025.
Key dates:
Apply for the program at antagning.se. Deadline March 3, 2025.
During the education, you will be introduced to a variety of different approaches, materials, and techniques involved in the investigation of jewellery art. The programme has a focus on jewellery and its materiality, language, and relation to the body. The aim is that the education shall support you to develop your own way of working with jewellery art.
Are you curious about previous students' work? See also what we are doing on our Instagram: @hdk_valand_jewelleryart
Specializing in jewellery art
If you choose to specialize in jewellery art, you will have great possibilities to work with 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.
More information about HDK-Valand Academy of Art and Design.
To apply: https://www.gu.se/studera/hitta-utbildning/konstnarligt-kandidatprogram-i-konsthantverk-smyckekonst-k1khv-smyc
Teachers in the subject jewellery art: Ammeli Engström.
Teachers in other subjects: Nils Kristofersson, Emma Linde, Renata Francescon, Sarah Schmidt.
Events 
Installation: Encapsulated Absence, 2024
Silver, gold
Photo by: David Eng
© By the author. Read Klimt02.net Copyright.
Ring: Pain, 2024
Silver, gold
2.5 x 2.5 x 5.5 cm
Photo by: Lana León
© By the author. Read Klimt02.net Copyright.
Estimated price: 380 €
Necklace: Untitled, 2023
Reused wood (waxed), silver
4 x 4 x 7 cm. Chain: 62 cm
Photo by: David Eng
From series: Hands on- to observe with the hand
The saw and my hand creates parts of a whole. Followed up by well known movements of files. Earlier processed wood is curiously reshaped. The hands are leading, as the eyes assist.
Silky smooth, warm but cool, wood soon accompanied by silver. The colder feeling from the metal gets warmed up fast by my skin. My hands handles both wood and metal gently. Supported by files, hammer and crochet hook form and surface emerges.
Jars lathed by unknown hands, today found at flee markets. Segments from three jars, now in the context of jewellery art, made to wear and touch. A caring, yet sadly necessary(?), homage regarding the hands capacity to observe and experience through the sense of touch.
Cecilia Bjorertz. BA Student
Silky smooth, warm but cool, wood soon accompanied by silver. The colder feeling from the metal gets warmed up fast by my skin. My hands handles both wood and metal gently. Supported by files, hammer and crochet hook form and surface emerges.
Jars lathed by unknown hands, today found at flee markets. Segments from three jars, now in the context of jewellery art, made to wear and touch. A caring, yet sadly necessary(?), homage regarding the hands capacity to observe and experience through the sense of touch.
Cecilia Bjorertz. BA Student
© By the author. Read Klimt02.net Copyright.
Estimated price: 120 €
Earrings: Untitled, 2023
Reused wood (waxed), silver
2 x 4.5 x 15 cm
Photo by: Cecilia Bjorertz
From series: Hands on- to observe with the hand
The saw and my hand creates parts of a whole. Followed up by well known movements of files. Earlier processed wood is curiously reshaped. The hands are leading, as the eyes assist.
Silky smooth, warm but cool, wood soon accompanied by silver. The colder feeling from the metal gets warmed up fast by my skin. My hands handles both wood and metal gently. Supported by files, hammer and crochet hook form and surface emerges.
Jars lathed by unknown hands, today found at flee markets. Segments from three jars, now in the context of jewellery art, made to wear and touch. A caring, yet sadly necessary(?), homage regarding the hands capacity to observe and experience through the sense of touch.
Cecilia Bjorertz. BA Student
Silky smooth, warm but cool, wood soon accompanied by silver. The colder feeling from the metal gets warmed up fast by my skin. My hands handles both wood and metal gently. Supported by files, hammer and crochet hook form and surface emerges.
Jars lathed by unknown hands, today found at flee markets. Segments from three jars, now in the context of jewellery art, made to wear and touch. A caring, yet sadly necessary(?), homage regarding the hands capacity to observe and experience through the sense of touch.
Cecilia Bjorertz. BA Student
© By the author. Read Klimt02.net Copyright.
Estimated price: 950 €
Necklace: Stolthet eller fördom II, 2023
Textile and aluminium
Photo by: David Eng
From series: Stolthet eller fördom
In this project, I am exploring my identity as a Japanese-Swedish person by processing memories, my own preconceived notions, feelings of alienation, and my longing to belong somewhere. One realization that has emerged during the course of the project is that craft has always been my invitation to engage with both cultures I belong to. Whether it was through weaving and candle making with my aunt, woodcarving together with my father, or sitting on my mother’s lap doing origami, it led to an understanding of the materials and objects that surrounded me and shaped my environment. Here, I draw inspiration from Japanese garment sewing and my memories of growing up with dual ethnicity here in Sweden.
Hulda Grahn. BA Student
Hulda Grahn. BA Student
© By the author. Read Klimt02.net Copyright.
Necklace: Stolthet eller fördom I, 2023
Textile and aluminium
Photo by: David Eng
From series: Stolthet eller fördom
In this project, I am exploring my identity as a Japanese-Swedish person by processing memories, my own preconceived notions, feelings of alienation, and my longing to belong somewhere. One realization that has emerged during the course of the project is that craft has always been my invitation to engage with both cultures I belong to. Whether it was through weaving and candle making with my aunt, woodcarving together with my father, or sitting on my mother’s lap doing origami, it led to an understanding of the materials and objects that surrounded me and shaped my environment. Here, I draw inspiration from Japanese garment sewing and my memories of growing up with dual ethnicity here in Sweden.
Hulda Grahn. BA Student
Hulda Grahn. BA Student
© By the author. Read Klimt02.net Copyright.
Necklace: I’m pretending that I'm standing outside a closed door I, 2023
Silver, glass, textile, optical lenses, textile, plastic
11 x 4.7 x 8.5 cm
Photo by: David Eng
From series: I’m pretending that I'm standing outside a closed door
The closed door makes my anxiety increase. I’m afraid of the loneliness but even more of knocking. You’re doing the best you can, but still you cannot.
And I’ve repeated those mistakes. I’ve told myself to stop being anxious about nothing, to stop being oversensitive. I have diminished myself, yelled and closed the door for my own pain.
But it’s not working. The anxiety is still present and it feels just like it did when I was a child. I try to face it through play and craft, face it at the same stage that it first appeared. In the world of play it can reveal itself, there it can exist without blame.
In this project I have explored the therapeutic properties of art, and how I can apply these to my own experiences of mental illness and anxiety. The starting point is my own childhood and therefore I base my investigation in the world of pretend play. In play as well as art we go through creative processes based on imagination and inventiveness. I believe that play and art can help us face our inner selves and to some extent mend what is broken inside of us. Where words expose, strike wrongly and chafe, materials and images have the ability to capture the essence without exposing private details. Art gives us distance to the pain as well as it welcomes us to express our feelings without reproach.
Nora Hellsén. BA Student
And I’ve repeated those mistakes. I’ve told myself to stop being anxious about nothing, to stop being oversensitive. I have diminished myself, yelled and closed the door for my own pain.
But it’s not working. The anxiety is still present and it feels just like it did when I was a child. I try to face it through play and craft, face it at the same stage that it first appeared. In the world of play it can reveal itself, there it can exist without blame.
In this project I have explored the therapeutic properties of art, and how I can apply these to my own experiences of mental illness and anxiety. The starting point is my own childhood and therefore I base my investigation in the world of pretend play. In play as well as art we go through creative processes based on imagination and inventiveness. I believe that play and art can help us face our inner selves and to some extent mend what is broken inside of us. Where words expose, strike wrongly and chafe, materials and images have the ability to capture the essence without exposing private details. Art gives us distance to the pain as well as it welcomes us to express our feelings without reproach.
Nora Hellsén. BA Student
© By the author. Read Klimt02.net Copyright.
Necklace: I’m pretending that I'm standing outside a closed door II, 2023
Silver, porcelain, glass, textile
6.2 x 1.7 x 12.5 cm
Photo by: David Eng
From series: I’m pretending that I'm standing outside a closed door
The closed door makes my anxiety increase. I’m afraid of the loneliness but even more of knocking. You’re doing the best you can, but still you cannot.
And I’ve repeated those mistakes. I’ve told myself to stop being anxious about nothing, to stop being oversensitive. I have diminished myself, yelled and closed the door for my own pain.
But it’s not working. The anxiety is still present and it feels just like it did when I was a child. I try to face it through play and craft, face it at the same stage that it first appeared. In the world of play it can reveal itself, there it can exist without blame.
In this project I have explored the therapeutic properties of art, and how I can apply these to my own experiences of mental illness and anxiety. The starting point is my own childhood and therefore I base my investigation in the world of pretend play. In play as well as art we go through creative processes based on imagination and inventiveness. I believe that play and art can help us face our inner selves and to some extent mend what is broken inside of us. Where words expose, strike wrongly and chafe, materials and images have the ability to capture the essence without exposing private details. Art gives us distance to the pain as well as it welcomes us to express our feelings without reproach.
Nora Hellsén. BA Student
And I’ve repeated those mistakes. I’ve told myself to stop being anxious about nothing, to stop being oversensitive. I have diminished myself, yelled and closed the door for my own pain.
But it’s not working. The anxiety is still present and it feels just like it did when I was a child. I try to face it through play and craft, face it at the same stage that it first appeared. In the world of play it can reveal itself, there it can exist without blame.
In this project I have explored the therapeutic properties of art, and how I can apply these to my own experiences of mental illness and anxiety. The starting point is my own childhood and therefore I base my investigation in the world of pretend play. In play as well as art we go through creative processes based on imagination and inventiveness. I believe that play and art can help us face our inner selves and to some extent mend what is broken inside of us. Where words expose, strike wrongly and chafe, materials and images have the ability to capture the essence without exposing private details. Art gives us distance to the pain as well as it welcomes us to express our feelings without reproach.
Nora Hellsén. BA Student
© By the author. Read Klimt02.net Copyright.
Necklace: Press Play, 2023
Anodised aluminium, acrylic
26 x 43 x 5 cm
Photo by: David Eng
From series: Press Play
© By the author. Read Klimt02.net Copyright.
Brooch: Press Play I, 2023
Anodised aluminium, acrylic
8 x 2 x 12 cm
Photo by: David Eng
From series: Press Play
© By the author. Read Klimt02.net Copyright.
Brooch: Press Play II, 2023
Anodised aluminium, acrylic
11 x 0.5 x 7 cm
Photo by: David Eng
From series: Press Play
© By the author. Read Klimt02.net Copyright.
Necklace: Don't be so emotional!, 2023
Silicone
36 x 11 x 46 cm
Photo by: Jennifer Omberg
From series: Don't be so emotional!
I have always been an emotional person. Sometimes it can be overwhelming that small impressions have the power to create significant changes in my mood. During my studies at HDK, I have come to understand that my sensitivity is a strength in my artistic practice. To me, sensitivity means being present, absorbing one’s surroundings, and reacting to them. As a jewellery artist, I always relate my work to the human body, but in my bachelor’s work, I have chosen to depict the emotions that reside within it, based on the body’s own forms. I have sculpted jewellery with bodies that honestly communicate their inner experiences without hiding or distorting them, bodies that dare to show vulnerability. Emotions are our own personal truths that we must learn to accept as they are an inevitable part of life. Whether unbearable or wonderful, emotions are what make life meaningful.
Jennifer Omberg. BA Student
Jennifer Omberg. BA Student
© By the author. Read Klimt02.net Copyright.
Brooch: Don't be so emotional!, 2023
Plastic, acrylic paint, silicone and metal
14 x 5.5 x 13 cm
Photo by: Jennifer Omberg
From series: Don't be so emotional!
I have always been an emotional person. Sometimes it can be overwhelming that small impressions have the power to create significant changes in my mood. During my studies at HDK, I have come to understand that my sensitivity is a strength in my artistic practice. To me, sensitivity means being present, absorbing one’s surroundings, and reacting to them. As a jewellery artist, I always relate my work to the human body, but in my bachelor’s work, I have chosen to depict the emotions that reside within it, based on the body’s own forms. I have sculpted jewellery with bodies that honestly communicate their inner experiences without hiding or distorting them, bodies that dare to show vulnerability. Emotions are our own personal truths that we must learn to accept as they are an inevitable part of life. Whether unbearable or wonderful, emotions are what make life meaningful.
Jennifer Omberg. BA Student
Jennifer Omberg. BA Student
© By the author. Read Klimt02.net Copyright.
Brooch: Don't be so emotional!, 2023
Plastic, acrylic paint, silicone and metal
14 x 5.5 x 13 cm
Photo by: Jennifer Omberg
From series: Don't be so emotional!
On-body view
I have always been an emotional person. Sometimes it can be overwhelming that small impressions have the power to create significant changes in my mood. During my studies at HDK, I have come to understand that my sensitivity is a strength in my artistic practice. To me, sensitivity means being present, absorbing one’s surroundings, and reacting to them. As a jewellery artist, I always relate my work to the human body, but in my bachelor’s work, I have chosen to depict the emotions that reside within it, based on the body’s own forms. I have sculpted jewellery with bodies that honestly communicate their inner experiences without hiding or distorting them, bodies that dare to show vulnerability. Emotions are our own personal truths that we must learn to accept as they are an inevitable part of life. Whether unbearable or wonderful, emotions are what make life meaningful.
Jennifer Omberg. BA Student
Jennifer Omberg. BA Student
© By the author. Read Klimt02.net Copyright.
Brooch: My Perfect Life, 2021
Gold plated silver, PS-plastic, steel.
12 x 10.5 x 4 cm
Photo by: Jenny Jansson
From series: My Perfect Life
Unique piece
© By the author. Read Klimt02.net Copyright.
Estimated price: 1270 €
Glasses: A or F, 2021
Silver, wood, pearl, acrylic.
12 x 12 x 15 cm
Jie Zhou explored to express unequal power relationship between parents and children in traditional Chinese families through employing narrative jewellery with humour. While living in Sweden for two years during the MA study, Zhou became aware of cultural differences, especially in the power relationships between parents and children in Sweden and China. In Sweden, children appear to be respected by their parents and their ideas are heard. In Chinese families, parents express their love towards their children by providing the best possible education, and in return, children are expected to fulfil parents' expectations, where the children’s opinions are neglected. Through the final installation, Zhou aimed to recreate the over-emphasis on education and parental “care” felt from the perspective of a child.
© By the author. Read Klimt02.net Copyright.
Estimated price: 600 €
Piece: My grandmother knitted socks for my partner…, 2021
Wool, dog hair.
Photo by: David Eng
© By the author. Read Klimt02.net Copyright.
Body piece: Ether, 2021
Titan, silver, plexiglass, cubic zirkona.
Photo by: Lisa Nilsson
© By the author. Read Klimt02.net Copyright.
Necklace: Inside the Bark, 2021
Birchwood.
Photo by: Therese Johansson
© By the author. Read Klimt02.net Copyright.
Brooch: My Friend the Bed, 2021
Concrete, textile, silver, brass, beads, bulgur, foam rubber.
Photo by: Lea Kristoffersen Stuedahl
© By the author. Read Klimt02.net Copyright.
Neckpiece: Hold your head up and see your heroic-self, 2020
Brass.
© By the author. Read Klimt02.net Copyright.
Object: Daily Observations, 2020
Silver, niello.
From series: Daily Observations
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Necklace: Rebirth = Omstart, 2020
Plastic, silicone tube, silver.
© By the author. Read Klimt02.net Copyright.
Brooch: Between me and my world, 2020
3D printed resin, pigment, steel.
© By the author. Read Klimt02.net Copyright.
Necklace: Imaginary Inside, 2020
Aluminum, thread.
© By the author. Read Klimt02.net Copyright.
Piece: Untitled, 2020
Mixed materials.
Tools.
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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.
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Brooch: Bodygarden, 2019
Foam, cress, paint.
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Piece: Untitled, 2019
Pine cones, plastic.
Eyewear.
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Brooch: This is how I want to remember it, 2019
Oak, plastic tube, hair.
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Necklace: No Difference between the Beautiful and Strong Sex, 2019
Titanium, iron.
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Necklace: Uncover, 2019
Aluminium, loofah sponge.
12 x 45 cm
© By the author. Read Klimt02.net Copyright.
Brooch: Body is nature nature is body, 2019
Copper, steel.
7 x 7 cm
© By the author. Read Klimt02.net Copyright.
Object: You hurt my arm, 2019
Aluminium
15 x 22 cm
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Object: You hurt my arm, 2019
Aluminium
15 x 22 cm
Detail view.
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Necklace: J-U-S-S-I, 2019
Aluminium, rope.
25 x 5 x 350 cm
© By the author. Read Klimt02.net Copyright.
Estimated price: 900 €
Necklace: For Sale! I Don’t Want It Anymore Because of Its Current Reputation, 2019
Aluminium
30 x 2 x 40 cm
© By the author. Read Klimt02.net Copyright.
Estimated price: 600 €
Brooch: As I remember it, 2019
Copper, silver.
© By the author. Read Klimt02.net Copyright.
Necklace: Tears of Love, 2019
Aluminium, anodizing, treads.
© By the author. Read Klimt02.net Copyright.
Brooch: I need to share this, 2019
Plastic bag, unidentified content, steel.
4 x 3 cm
© By the author. Read Klimt02.net Copyright.
Object: But when an apartment cries it's a lot of work to mop it up, 2019
Jesmonite
7 x 2.5 cm - 8.5 x 6.5 cm
© By the author. Read Klimt02.net Copyright.
Necklace: Tenderly, along the way, 2019
Wood
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Necklace: To shape and to be shaped, 2018
Wood, textile thread.
BA graduate 2018
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Object: Wooden talks, safe terrain and tangled situation, 2018
Wood, paint, graphite.
MA graduate 2018
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Piece: Curiosities, 2018
Silver, aluminium, resin, nature elements.
BA graduate 2018
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Necklace: Hole, 2018
Anodized aluminium, nylon string, plastic net tube.
MA graduate 2018
© By the author. Read Klimt02.net Copyright.
Brooch: Inanimate Humanity, 2018
Steel, glass.
BA graduate 2018
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Earrings: Untitled, 2017
Juniper wood, 14k gold.
7 x 4 cm
© By the author. Read Klimt02.net Copyright.
Brooch: Not My Hands, 2017
Fine silver.
Photo by: Maja Kristin Nylander
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Object: Beyond sight, 2017
Copper, silver, brass, foam clay, silk thread.
Photo by: Wanying Lin
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Object: Destruction, insufficiency and handles, 2017
Silver, aluminium, wood (birch), bronze.
Photo by: Ekaterina Lukoshkova
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Body piece: Meltingpoint, 2017
Silver, enamel, thread.
Photo by: Ekaterina Lukoshkova
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Set: In Line With, 2016
Wood, silver, leather, paint.
Brooches, rings, bracelets, necklaces.
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Necklace: A4.7, 2016
Aluminum.
22 x 0.5 x 29 cm
Photo by: Anna Norrgrann
From series: The Flow within and the Flight from a Standard Size
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Brooch: Frozen Moment, 2015
Polymer, crushed marble, gold.
Photo by: Jelizabeta Suska
Awarded at: Herbert Hofmann Prize 2016
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Installation: Pose, 2014
Textile, silver.
Photo by: Karin Gyllerfelt
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Installation: Flora Candestina, 2015
Silver, ceramic, textile, various materials.
Photo by: Karin Johansson
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Necklace: Line, 2014
Copper, paint.
Photo by: Li Liang
Awarded at: Marzee Graduation Award 2014
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Necklace: Untitled, 2013
Wax, copper, brass, gold, leather, thread
40 x 25 x 8 cm
© By the author. Read Klimt02.net Copyright.
Brooch: Untitled, 2013
Silver, gold, enamel
6 x 4 cm
© By the author. Read Klimt02.net Copyright.
Piece: The depth of the sea, 2012
Copper, elastic string
23 x 10 x 5 cm
© By the author. Read Klimt02.net Copyright.
- Mail:
- lina.petersson.2gu.se
- ammeli.engstromgu.se
- Management:
- Lina Petersson, Ammeli Engström
-
EASD València
Valencia, Spain -
State University of New York at New Paltz
New Paltz, United States -
Hochschule Trier
Idar Oberstein, Germany -
Cranbrook Academy of Art
Bloomfield Hills, United States -
China Academy of Art
Hangzhou, China -
West Dean College
Chichester, United Kingdom -
IED Istituto Europeo di Design
Milan, Italy -
The Goldsmiths’ Centre
London, United Kingdom -
Design Werkstatt
Freiburg, Germany -
School of Jewellery. Birmingham City University
Birmingham, United Kingdom -
LAB University of Applied Sciences
Lappeenranta, Finland -
Le Arti Orafe
Florence, Italy -
PXL-MAD School of Arts
Hasselt, Belgium -
Central Saint Martins, BA (Hons) Jewellery Design
London, United Kingdom -
Pocosin Arts School of Fine Craft
Columbia, United States
