1966 Stockholm (Sweden)
1988-1989 Nyckelviksskolan, department of Metalsmithing, Lidingö, SE
1989-1994 National College of Arts and Design Konstfack, Stockholm, SE
1996 Galleri Metallum, Stockholm, SE
1998, 2000, 2003 Nutida Svenskt Silver, Stockholm, SE 2004 Crafts Council, London, UK
2005 National Museum, Stockholm, SE
2005, 2008, 2012 Galerie Marzee, Nijmegen, NL
2005 Gallery Norsu, Helsinki, FI
2006, 2011 Nutida Svenskt Silver, Stockholm, SE
2007 Gallery Drud & Koppe, Copenhagen, DK
2008 Gustavsbergs Konsthall, Gustavsberg, SE
2000 Bengt Juhlins Konsthantverksstipendium, SE
2003 Landstingets Kulturstipendium, Uppsala, SE
2003 Marianne och Sigvard Bernadottes Kulturstipendium, Stockholm, SE
Work in public collections
The Marzee Collection, Nijmegen, NL
Röhsska Museet, Gothenburg, SE
National Museum, Stockholm, SE
Engelbrecktskyrkan, Stockholm, SE
Nordiska Museet, Stockholm, SE
HKH Konung Carl XVI Gustav (Royal Collection) Stockholm, SE
Orna Mental (at Galerie Marzee 4 March until 16 May 2012)
In my new exhibition, Orna Mental, I am investigating ornamentation as a phenomenon, and how this may affect and involve the object, the user and the room, alongside a culture built around mass consumption and mass production.
The idea of ornamentation is to beautify an object, and to tell a story beyond the objects’ functional value. During the 20th century, ornamentation was largely eliminated or rationalized in functional objects. Its purpose altered to suit industrial processes and the aesthetics which these gave rise to. Ornamentation became an indicator of a set of moral values. During that century, ornamentation was often cited as dishonest, bringing the user away from the true essence of things – the beauty of functionality in everyday use.
The main focus of my work has not been on surface decoration, but rather on issues regarding what ornamentation is, the relevance of this phenomenon in our time in order to carry a story, and how ornamentation can dissolve interfaces between objects, users and spaces.
Shifts took place during the course of this investigation. What we usually regard as practical functional details, have an ornamental function in these exhibited objects. They reveal the objects’ story in a new perspective. The question arises as to what happens to our accustomed ideas and constructed distinctions: between the practical use, beauty, story and content – the concrete and the abstract.
In this exhibition, as so often before in my work, I want to highlight different stories that functional objects carry, and show how these stories can reflect images of ourselves, that we have projected on to them, over the course of thousands of years of use.