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AW Collection

2022

CLOSE WITHIN


COPPER ORE, GUTTA-PERCHA, FIRED ENAMEL

WORK EXHIBITED:
TAIDEKESKUS ITÄ,
LAPPEENRANTA (FI)


Close within, investigates the "disconnected" rhizomatic world made from telecommunications cable that have been abandoned after they were cut. The work focuses on the extractive material re
lations of copper ore and gutta-percha, from its dematerialised signals to the endless round of human-nature dilemma since Victorian era. The main artistic process in the making is cut, temperature and brute materiality.

 

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2022

THE STUDIO 5TH WALL


PUBLICATION & ESSAY
ISBN: 978-91-527-4589-2

PRODUCED BY:

KONSTFACK, STOCKHOLM (SE)


In October 2021, I was invited by the faculty of the Smycke och corpus: Ädellab programme of Konstfack, to participate in a studio visit project. The Studio 5th Wall publication were presented as informal talks, formatted to promote dialogue: each participant hosted a session in their studio or workshop space, presenting a selection of their works, while another faculty member acted as a discussant who moderated the conversation.

 

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2020

ANIMACY


CONVERSATION PIECE, EMBODIMENT, AFFECT

WORK EXHIBITED:

OBJECTSPACE (NZ)

 

The exhibition scenography - developed for a solo exhibition at Objectspace in Auckland - investigates the agency, or rather the animacy, of blue light, especially in the use of digital display technologies that expose us to blue light outside normal daylight hours, and how this affects bodies from the human biological system, to that of plants and animals. This particular kind of light in the exhibition space, is in dialogue with the installation, sound, object, jewellery and their materiality offers an immersive embodied experience.

 

Photo credits: Sam Hartnett & Objectspace

 

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2020

SITE-RESPONSIVENESS


PUBLICATION &
ESSAY
ISBN:978-3-89790-603-7 

PRODUCED BY:

NORWEGIAN CRAFTS (NO), GALLERI F15 (NO) AND ARNOLDSCHE ART PUBLISHERS (DE)


The publication is named after the exhibition Earth, Wind, Fire, Water, curated by Randi Grov Berger at Galleri F15 in Moss, Norway in 2020. The artists represented in the exhibition each explore the potential of materials and the four natural elements as co-authors of artistic works, participating in and at times controlling the creation process and its outcome. The artists' practices reflect a longing for a deeper connection to the planet.

 

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2016-18

GOLD RUSH


CONVERSATION PIECE, GOLD, MYLAR, KAPTON

WORK EXHIBITED:
DIE NEUE SAMMLUNG 
- THE DESIGN MUSEUM (DE), MAURER ZILIOLI CONTEMPORARY ARTS (DE), STEDELIJK MUSEUM‘ S-HERTOGENBOSCH (NL), LETHABY GALLERY, CENTRAL SAINT MARTINS (UK), NATIONAL MUSEUM OF DECORATIVE ARTS AND DESIGN, TRONDHEIM (NO), GALLERY FUNAKI (AU), KUNSTNERFORBUNDET (NO), RIAN DESIGNMUSEUM (SE), OBJECTSPACE (NZ)

 

Gold Rush investigates how gold and other precious minerals are largely used today on the ground of their physical properties - from electrical conductivity, resistance to corrosion and radiations - in the production of consumer electronics as well as for space exploration. Gold in particular is one among a group of rare minerals on which our daily interactions, entertainment needs and communications rely: it is diluted into what we consume and interact with carelessly, hidden into the secret workings and mechanisms of our appliances and daily interactions with them. By using gold and other minerals extracted from electronic waste, and rendering these visible on the body through jewellery pieces meant to adorn, the intention is to understand gold's cultural meaning and power in our time.


 

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2019-20

SOMEBO
DIES

ENTANGLED BODIES, EX-VOTO, LEAD/SILVER, BIOACCUMULATION

WORK EXHIBITED:

ÖSTERGÖTLANDS MUSEUM (SE), ENGELSKA MAGASINET (SE)

Since 1810, the Reijmyre Glasbruk has produced many significant glassware, while at the same time accumulating some of the leftover reactants behind the factory and in nature. Bioaccumulation is a term that refers to the human-made compounds, progressively accumulated in a living organism. Through the reference of ex-voto, which suggests a deep concern with the body, healing and vulnerability. Somebodies responds to the historical context of the particular ruby red glass making process in Rejmyre Glasbruk, it is a narrative corresponding to slow violence and it concerns with whose bodies (both human and non-human) are exposed and constantly build resistance to contaminants.

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2017-19

NU JADE


CONVERSATION PIECE, JADE, E-WASTE, AMULET

WORK EXHIBITED:
DIE NEUE SAMMLUNG (DE), ALCOVA (IT), SCHMUCK 2022 (DE), DROOG DESIGN (NL), OBJECTSPACE (NZ), KUNSTNERFORBUNDET (NO), RIAN DESIGNMUSEUM (SE), NATIONAL MUSEUM OF DECORATIVE ARTS AND DESIGN, TRONDHEIM (NO)



China is likely the largest producer of consumer electronics and electrical components nowadays. It is also one of the countries tasked with disposing of the large amounts of e-waste produced globally every year. The work of Nu Jade reflects on the materiality of jade and motherboard: from notions of self-protection to concerns towards e-waste handling and environmental safety.

 

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2018-19

CRAFT REMEDIATION


ENTANGLED BODIES, REMEDIATION, PLACE MAKING

WORK EXHIBITED:
RIAN DESIGNMUSEUM (SE), BARKLUND & CO (SE)



Craft Remediation is a site-specific work in a local cultural space in Stockholm and presents a hands-on permaculture approach for phytoremediation. It aims to discuss how remediation and a praxis of care can be understood in a local community and social context. The investigation started at Vinterviken in Aspudden, Stockholm, a post-industrial site where Alfred Nobel invented an enormous revolution for armaments and mining explosives manufacturing: dynamite. The side effect of the industrial activities in Vinterviken that started in the 1860's have led to soil contamination in the area. The project looks into this particular history and landscape, and proposes ways to harvest-care-remediate alternative materials from industrial leftovers.


 

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2016-17

FROM LANDSCAPE TO TIMESCAPE

TROMPE L’OEIL, SILVER/MAHOGANY, MATERIAL FICTION

WORK EXHIBITED:

RIAN DESIGNMUSEUM (SE), EASY!UPSTREAM (DE), KONSTHANTVERKARE (SE)



From Landscape to Timescape, trompe l'oeil patterns of materiality near and far, tend to blur their material origin and aesthetic value, thus blurring the notion of distance. The near and the far raises the question: how do our material perceptions change and respond to material norms? I refer to these works as material frictions as well as material fictions, in the attempt to unfold what lies on the material surface as much as through the layers of history.

 

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2016

(IM)PRINT

CO-CURATED EXHIBITION WITH HANNA HEDMAN, KAJSA LINDBERG AND BEATRICE BROVIA

WORK EXHIBITED:
EASY!UPSTREAM, MUNICH (DE)



The co-curated exhibition (IM)PRINT presents works that address different interpretations of the acts of publishing and disseminating, but also of imprinting and impressing. Some of the works on display, investigate the similarity between jewellery and language or typography: how the former allows for potentially infinite configurations, functioning in this way similarly to an alphabet, whose ideal surface and interface for communication is the body and the surrounding space. Other positions bypass for a moment the physicality of jewellery and objects, and rather look at the role and practice of the artist as publisher, editor or producer.

Participants: Lin Cheung, Nicolas Cheng, David Clarke, Liesbet Bussche, Silke Fleischer, Beatrice Brovia, Hanna Hedman/Sanna Lindberg, Nils Hint, Göran Kling, Kajsa Lindberg, Yuka Oyama and Niels Van de Wouwer.


 

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2013

LINERS

BUCKS 'N BARTER, BANKNOTE, TRADE, CURRENCY

WORK EXHIBITED:
BAYERISCHER KUNSTGEWERBEVEREIN (DE), GALERIE KULLUKCU (DE), SIERAAD ART FAIR (NL)


 

Through a history of ruled countries and rulers, raw materials and goods have been exchanged becoming ultimately familiar. An inked piece of paper money on which the history and destiny of nations is recorded and inscribed. What does the materiality of a colonial banknote indicates, when most reference of national symbols/currency are absented and only a handful of details (depictions of fruit, local plants, and scenes of daily life) are remain visible? These fragile, delicate liners become containers of empty space, suspended on hand-carved white marble sweets.

 

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2017-18

DON'T STEAL THE KIL

FINE SILVER, WOOD, SLAG, STONE, IRON, GLASS

WORK EXHIBITED:

RIAN DESIGNMUSEUM (SE), KONSTHANTVERKARE (SE)


 

The doorstop known for its ability to misplaced or become misbehave. It denotes the possibility that unnoticed things can act and how these objects able to disrupt or alter productive spaces - keeping certain doors open, or disappearing from where they should be, thus disturbing our expectations. Through the work Don't Steal The Kil, I have observed how these material objects placed on different locations take on meaning beyond their relational context - it moves from abandoned site to museum space, morphing from neglected things to ornament.

 

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2015

TERROIR

CULINARY CULTURE, LOCALITY, NEAR-FARAWAY

WORK EXHIBITED:
CULTURAL EMBASSY AMSTERDAM (NL)


 

Terroir looks at notion of distance and sets out to explore mechanisms and geographies of commodity from near-faraway. The work focuses on damask tablecloth, silver napkin and tableware coded with socio-economic material meanings in a dining setting, it aims to discuss dissolving locality and sense of place through culinary experience.

 

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2014

KINO


CONVERSATION PIECE, CONFLICT MINERALS, GOLD, TANTALUM, OPTICAL FILM

WORK EXHIBITED:

SCHMUCK 2016 (DE), DIE NEUE SAMMLUNG 
- THE DESIGN MUSEUM (DE), GALERIE DE ZAAL (NL), MAD - THE MUSEUM OF ARTS AND DESIGN (USA), GALLERY FUNAKI (AU), THE DOWSE ART MUSEUM (NZ), SCHMUCKMUSEUM PFORZHEIM (DE), OBJECTSPACE (NZ)

 

Kino looks at the screen as an ambiguous embodiment of entertainment, human desire and consumption.

The brooch, made from conflict minerals such as gold and tantalum and e-waste recovered from smartphones' touchscreens, reflects on these notions. We carry these minerals in our pockets, as they form the foundation for functioning electronic devices, our mobile phones above all. The brooch, at once reflective and transparent, subtly points to this aspect: we can see through it, but it also shows our reflections, implicating us in a material system based on demand, extraction, supply, and consumption, and whose exploitative mechanisms are very hard to control, let alone escape.

 

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2013

BUCKS 'N BARTER

CO-CURATED EXHIBITION WITH BEATRICE BROVIA, FRIEDERIKE DAUMILLER AND KATRIN SPRANGER


WORK EXHIBITED:
GALERIE KULLUKCU, MUNICH (DE)


 

The co-curated exhibition Bucks 'N Barter features works from nine international artists active in the fields of jewellery, craft, product and experience design, with site specific installations, newly commissioned works and a selection of thought-provoking pieces, all together investigating a complex and multifaceted topic, that of the human tendency to trade and exchange and how this has shaped not only the society we live in but also the way we perceive and relate to things and materials. Key themes touched upon are value and currency, material culture, barter and exchange in terms of economics, symbols, knowledge and cultures; the relationship between the market and the applied arts, between physical and virtual.

 

Participants: Hilde De Decker, Nicolas Cheng, Richard Elenbaas, Tzu Ling Lee, Kajsa Lindberg, Beatrice Brovia, Katrin Spranger and Prang Lerttaweewit.

 

Scenography: Friederike Daumiller

 

Graphic concept: Daniela Wiesemann

 

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2012-13

CHINOISERIES

CLOISONNÉ, HOLLOWWARE, DISSOLVING, CRAFT HERITAGE

WORK EXHIBITED:
DESIGN MIAMI/BASEL (USA/CH), GALERIE CAROLINE VAN HOEK (BE), PAD PARIS (FR), GALERIE DE ZAAL (NL), ASIA SOCIETY
(HK), KONSTHANTVERKARE (SE),
SINGAPORE NATIONAL DESIGN CENTRE (SG), HANGZHOU CONTEMPORARY INTERNATIONAL JEWELRY AND METAL ART TRIENNIAL (CN)


 

Chinoiseries - a group of hollowware made in part using cloisonné, a metal enamel technique that spread in Asia after the 14th century. By re-examined the term 'chinoiserie' as a transnational hybrid, and examining the exchange of influences from European fascination of Asian cultures. The hands-on research work was situated in one of the last surviving cloisonné enamel workshops in Beijing.

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2013

TENDENSER · TENDERNESS

NORDIC EXHIBITION SERIES TENDENSER

WORK EXHIBITED:
GALLERI F15 (NO)



Over the course of the past four decades, the exhibition series Tendenser has been held at the Galleri F15 in Moss, Norway. The purpose of this ongoing project is to gather together the most recent, inventive craft work in the Nordic Countries. Curator for the 40th edition of Tendenser is Glenn Adamson.

 

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2012-14

OBJECT OF VERTU

CONVERSATION PIECE, A4, SILVER MIRROR, VANITY MIRROR

WORK EXHIBITED:
DESIGN MIAMI/BASEL (USA/CH), GALLERI F15 (NO), GALERIE DE ZAAL (NL), Z33 (BE), GALERIE PHOEBUS ROTTERDAM (NL), KONSTHANTVERKARE (SE)


 

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2011

FAÇADES

CONVERSATION PIECE, MARBLE QUARRY, PINK ONYX

WORK EXHIBITED:

DESIGN MIAMI/BASEL (USA/CH), TRIENNALE DESIGN MUSEUM (IT), GALERIE PHOEBUS, ROTTERDAM (NL), GALERIE NOEL GUYOMARC'H (CAN), GALLERI F15 (NO), GALERIE DE ZAAL (NL), KORU 5 (FI), KONSTHANTVERKARE (SE), OBJECTSPACE (NZ)



Façades is a site-responsive work that challenges scale through the jewellery medium, and also by means of the techniques employed, typically used for the making of monumental sculpture. The work started off in a quarry in Carrara when, confronted with the vertigo of the mountain, and with the unsettling beauty of the landscape being relentlessly cut-up and modified by the human intervention.

 

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2010

THE BEAUTY OF NOTHINGNESS

PURIFICATION, AMBER, LOOFAH, SISAL FIBRE 

WORK EXHIBITED:
GALERIE MARZEE (NL),
TALENTE 2011 (DE), KONSTFACK (SE), GALERIE ROB KOUDIJS (NL), DIE NEUE SAMMLUNG 
- THE DESIGN MUSEUM (DE)

 

What does nothingness mean? Is nothingness sort of an absence of beauty? Or it is portrayed by our culture and society, and, in such case, can I define this absence of beauty?
 

The Beauty of Nothingness explored with different sensitivity and insight and which is culminating in a coherent body of work. The pieces exists in a gray zone somewhere between nothingness and purity. Each piece, challenging us through the beauty itself but also through the uncanniness of the pieces. In the work, most of the materials are referenced to bathing such as natural sponge, sisal fibre, loofah and cotton for cleaning up our body.
 

Such unevocable sensations of beauty are extremely subtle and hard to acknowledge. One needs to train one's eyes and go beyond the layers to discover the beauty of nothingness.

 

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