Drawing the noice

Attention: Craft, Liljevalchs Konsthall, summer of 2014

In the summer of 2014 I participated in Attention: Craft, an exhibition in Liljevalchs Konsthall, Stockholm, with eleven craft based artists curated by Agneta Linton and Maj Sandell. I set the title of my room to Drawing the noice.

NOICE

The Liljevalchs exhibition in my case represents the end point and result of my one year course in Konstfack, Research Lab. You can read more about my research project here and conclusion here.

In my early career I made hand built clayey sculptures, mostly without title and which slightly out of balance possessed a certain fragility and detail in combination with solid heavy chunks in porcelain. Instead of polishing my works and removing these coincidental marks of the building process I let them be when I could see an expressiveness or a subjective beauty in them. These findings in the process were essential to me and with Research Lab I wanted to reinvent this Linusian touch which during the years, has become less apparent in my works in favour of concepts and ideas.

In Konstfack I got the time and means to search again, try the properties of the clay, drag, skew, chop, drop, hit and rebuild, liberatingly and free of demands and what I seek is the visual noice of the process, the lo fi of ceramic art, something analogue rather than digital. These are musical terms and music is probably my main inspirational source. As with visual art I like music that has a certain amount of roughness, is not to perfect and well produced but with a lot of feel into it. Sentimental harmonies combined with chaotic disted guitars as with for instance long time heroes of mine, My bloody valentine, Neil Young and PJ Harvey.
 

DRAWING

Drawing has always been an extensive part of my practice. Even when I work sculpturally I tend to think in two dimensions and in a way I find the ceramic discipline two-dimensional since many of it's main figures and techniques are symmetrical, like a pot made on a throwing wheel easily can be described with one single drawing. The profile of it is the same no matter which direction you view it from.

When I draw I try to imitate the process of my sculptural building, trying different methods, papers, pencils, surfaces, color and rhythm and the finished drawing can often serve as a model for a sculpture. Sometimes I translate it directly trying to reproduce it sculpturally as close as I can to it's original and at other times the drawing grows and extends in the building process.

 

CONTAINERS

As a starting point, in order to get fast into actual making, I used the primary form of the ceramic craft; the container, a piece that can contain something like a pot, vase or a plate. All pieces shown in the Liljevalchs exhibition origins from some kind of container, though most of them does not contain very well since I didn't make them primarily to function. They are sculptural pieces but with their relationsship to the container they also relate to the ceramic craft and tradition. Both when I've drawn and sculpted I've started with the figure of for instance a pot and then started breaking it down, building it up again and  applied expressive elements, content and themes in a collage like manor.

Again it has been the expressiveness I've been after both in meaning and execution. Like we did in our We Work In A Fragle Material-project, In the eagles nest, try to put my myself into an inspired state or flow, often with help from music, where the sculptures grow more or less without control in my hands. When we orchestrated that project we felt that we were provocative in the current postmodern art climate talking about inspiration, flow, artistic genius and stuff. Still if you manage to fill yourself with these short moments of self confidence and flow in your artistic practice, they can be deeply satisfying. For myself, they don't appear as often as they did when I was younger, because of a higher level of control and knowledge, and these attempts of achieving them, no matter I succeed or not, may be pathetically self-fulfilling but quite in consequence with my overall artistic question, the contradiction in how much control you must have in life and how much can you allow yourself to loose it.


Nicotine


Pots


Molested princess pot


Plate


Pot leaking dreams



Sketches


Sketches


Self portrait

Where do you want to go next?

1. This was the last article in the order they were written. Start from beginning again?

2. Conclusion Research Lab

3. Normalcy