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  • 1.
    Abbott, Elizabeth
    University of Arts, Crafts and Design, Department of Crafts (KHV), Ädellab (Jewellery and Corpus).
    Unravelling the Monstrosities Within: How can characters in stop motion animation illustrate the monstrosities that live inside us and help us to be kind to them?2022Independent thesis Advanced level (degree of Master of Fine Arts (Two Years)), 80 credits / 120 HE creditsStudent thesis
    Abstract [en]

    This paper looks upon monsters as a medium; how concentration of fear can result in the demonisation of individuals. It explores how the use of craft, with a focus on stop motion animation, can be used as a tool to build empathy and help to heal fragmentations of society. Working with contemporary mythologies, crafted techniques are metaphorically related to the fragility of societal structures and collective narratives. Hand crafting references relics of consumer culture and explores variable autonomies over personal narrative, investigating imbalances of power.

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    fulltext
  • 2.
    Adborn, My
    University College of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    Förnimmelsens besiktning2016Independent thesis Basic level (degree of Bachelor of Fine Arts)Student thesis
  • 3.
    Albin, Josephson
    University of Arts, Crafts and Design, Department of Crafts (KHV), Ädellab (Jewellery and Corpus).
    Modus Operandi2023Independent thesis Basic level (degree of Bachelor of Fine Arts), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    Abstract

    Modus Operandi is an attempt to conceptualize and materialize the intriguing difference between owning an object and owning your own identity. To be mirrored by a physical object, something with a tangible presence, when your identity feels slippery and volatile. The work is approached by mixing contemporary and historical symbols and ornaments to convey a sense of how our heritage affects the present and the eclectic mix that constitutes a human being.

    This project is based on the creation of a modular system for making a candlestick, which will tell your personal history – both past, present and future. A modular object as an invitation to introspection. A domestic candlestick to mirror yourself, in your own home, to create a link between your inner self and the rest of the world. Traditional materials, such as bronze and brass are used to make the candlestick. Beyond this contemporary or somehow misplaced symbols and techniques are incorporated, in order to create tension between tradition and contemporary identity markers. Fueled by the inspiration from the alchemical holistic view of the world and using symbols one can view the candlestick as one’s own spiritual alchemical lab to conduct the Magnum opus.

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    fulltext
    Download (pdf)
    bilaga
  • 4.
    Alfredsson Grahn, Beata
    University of Arts, Crafts and Design, Department of Crafts (KHV), Ädellab (Jewellery and Corpus).
    Poetic Justice: an outcome in which vice is punished and virtue rewarded, usually in a manner peculiarly or ironically appropriate2020Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    An emergency is a speeded-up emergence, a state of change that accelerates beyond the control of the system in which it takes place and results in either death or necessary development, for an establishment of a new rhythm.

     

     

    This work is an investigation on the limits and possibilities of contemporary corpus practices. My aim for it is to be reflective of my own ambivalence towards the field in which my silversmithing practice is situated, and to promote the urgency of collaborative craft, in traditional as well as contemporary contexts.

    This investigation has resulted in the collaborative corpus project Poetic Justice, together with Klara Brydewall Sandquist, promoting two separate feminist agendas, in order to elevate them both and underline their entanglement. One being to manifest and justify women’s anger, and the other to oppose the cult of the individual genius and suggest alternate possibilities in relation to historical corpus in the contemporary field of craft. It is also a way for us to highlight the urgency of supporting, elevating and celebrating each other’s practices and purposes, through a closely intertwined way of working that investigates where objects begin and end, in space as well as in time.

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    fulltext
  • 5. Alftberg, Åsa
    et al.
    Rosenqvist, Johanna
    University of Arts, Crafts and Design, Department of Crafts (KHV).
    Meetings with complexity: dementia, meaning and participation in art educational situations2017In: Interpreting the brain in society: cultural reflections on neuroscientific practices / [ed] Kristofer Hansson & Markus Idvall, Lund: Arkiv förlag & tidskrift, 2017, p. 109-126Chapter in book (Refereed)
    Abstract [en]

    In January 2013, a three-year project, ‘Meetings with Memories’ (in Swedish: Möten med minnen), was launched in Swedish museums with guided tours for dementia-afflicted audiences. The project involved altogether 88 Swedish museums and was headed by the Alzheimer Foundation (Alzheimerfonden). Many Swedish art museums were part of the project, with the purpose that the art educational situations would create participation and dialogue with a group of people usually absent from the museums. Art in particular is regarded as a possible therapeutic rehabilitation for people with neurodegenerative diseases, where dialogue and making of art enhance cognitive abilities and quality of life. The therapeutic promise within art pedagogy is part of the larger context of the art educational situations we have studied. In this chapter, the aim is to explore how these situations are done and how participation can be made and interpreted in relation to the target group, people with dementia. We focus on the participation in terms of the meaning making, dialogical processes of the art educational practice of the project ‘Meeting with Memories'.

  • 6.
    Alton Borgelin, Teresa
    University of Arts, Crafts and Design, Department of Crafts (KHV), Ädellab (Jewellery and Corpus).
    Who I Am and Who You See2021Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    Now and then other people’s comments and/or behaviour reminds me that I look different and that my external features are connected to something beyond my Swedish identity. My black hair, dark brown eyes and my brownish skin color talk about something else. My appearance is connected to an identity, cultural identity and a country I have little knowledge of and a language I do not master. But still the way I look is a part of my heritage, a part of who I am and a part of me which I am proud of. It makes me wonder what actually makes up an identity and the power we all possess in deciding what or who another person is based on appearance. What do we become in the eyes of the beholder?

    Personal experiences from being Swedish, and adopted from another country, becomes the starting point for my investigation where the color of the skin leads to questions about norms, categorisations and the power of labelling another person. Living in the western world, my skin color automatically place me outside the norm. In a way that amazes me, that a single color can determine so much.

    As a jeweller maker in this degree project I make brooches. I use them as a method and as tools to both investigate the relationship between personal and social identity and to shed light on how structures in society and other peoples gazes push us into categories consciously and unconsciously. I use my objects as conversations pieces to reflect on history, present and future, from my perspective. There is always a beginning, but it is  in the middle of the process it all comes alive. This is where I explore material, techniques and methods and where the brooches are born. They all have a history and part of it is public. At first sight you see the surface. But the brooches are like our bodies, they also have an inside/backside which creates an intimate relationship with the wearer. The brooches are more than ornamented pins, I want them to raise awareness of diversity, different perspectives, care and their ability to communicate as they move through various places attached in different ways to the body.

    My degree project, Who I am and who you see, touches upon questions and emotions about belonging, inclusion and exclusion and the state of being in-between. What makes up an identity? What different parts make up a whole? Which layers are added and which are peeled off? All these questions triggers my curiosity and search for more knowledge about the human being and being human.

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  • 7.
    Alvestad Lopez, Beatrice
    University of Arts, Crafts and Design, Department of Crafts (KHV), Ädellab (Jewellery and Corpus).
    Metaplasm2022Independent thesis Advanced level (degree of Master of Fine Arts (Two Years)), 80 credits / 120 HE creditsStudent thesis
    Abstract [en]

     In this paper I look at my practice and master project through a broader lens – tying it with theoretical concepts in particular that of Rosi Braidotti`s book Metamorphoses becoming woman-animal-insect. I show how my practical and theoretical dimensions meet through the mediums and narratives I work with. Performance and ritual centralize the practice whilst crafted objects and residue is significant in the process using the materials of wood, textile and clay. I have this year introduced gold as embodied practice by eating it- I mention alchemy in that respect as an inward essence. Metaplasm is the title of the master project incorporating the fleshy and linguistic signifier coined by Donna Harraway in The  Companion Species Manifesto, in 2016, as my project unfold into text, performance and crafted sculptures. 

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    Metaplasm_Beatrice_AlvestadLopez
  • 8.
    Amy, Worrall
    University of Arts, Crafts and Design, Department of Crafts (KHV), Ceramics & Glass.
    Not a Girl, Not yet a Woman.: How do I look at Girls?2018Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    I’m not a girl, not yet a woman, but I do have popular sensibilities.

    Pop music plucks ideas and symbols from where ever it pleases to create a new narrative. So do I. Reflecting on how I see women and how the gaze of others affects this. By mapping my magpie like collection of images, songs, paintings and films I tell the story of my girl gang. My ceramic sculptures are a physical manifestation of my research into different ways of looking at girls.

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    Not a Girl, Not yet a Woman.
  • 9.
    Ander, Theodor
    University College of Arts, Crafts and Design, Department of Crafts (KHV), Ädellab (Jewellery and Corpus).
    Klumpigt Påtvingat Flexibelt2017Independent thesis Basic level (degree of Bachelor of Fine Arts), 5 credits / 7,5 HE creditsStudent thesis
    Abstract [en]

    Abstract.

     

    What is it that I want to do and where does my practice fit in? In the beginning of this project I was not only confused about what I wanted to do I was also a bit lost in life. I saw the opportunity to work around the therapeutic aspects of making.

    For me making has always been a way towards fulfillment, often creations come along in the moment and the pleasure is sudden. Then I quickly move along, looking for new kicks.

    I have been struggling with seeing my own work and reflecting on its qualities, not trusting the result of my intuitive process.

     

    At tension.

     

    The first sketches I was working on were small wax figures, they worked like a journal sort of. I would shape it from my mood or thoughts that day. I moved on to casting these objects and the quality of pewter would weigh them down, there was a connection with these small heavy bodies and my own. But their weight was not enough, there had to be more force than gravity holding them back. 

  • 10.
    Andersson, Alexandra
    University of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    På tal om texturen2018Independent thesis Basic level (degree of Bachelor of Fine Arts), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    Abstract

    I want to talk about tactile experiences, words that extend beyond touch. A full-body experience of space that begins with the senses, creating a collective understanding when everything is combined. We step in unbeknownst, activating our senses through the shapes and textures that enthral us. With our eyes, we access the dynamic of the room. 

    The foundation of my work is texture, so I explore the surface through it and textile is my chosen material because it allows me to do just that. By distorting, adding and pulling apart I can always get a new experience of it. In this project I work with three-dimensional patterns on the surface of the textile, and with subtle changes in volume I try to capture the light that falls on it and emphasis the texture to make the experience of it even richer.

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    På tal om texturen
  • 11.
    Andersson, Amandah
    University of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    Elastica Symbiotica: In Search For the Garden of Fiber Delights2022Independent thesis Advanced level (degree of Master of Fine Arts (Two Years)), 80 credits / 120 HE creditsStudent thesis
    Abstract [en]

    This paper explores how craft in general, and the tradition of machine knitting in particular, can act as support and an alternative method within healing processes connected to stress and burn-out. The paper uses creative writing and an intimate approach to reach for and highlight metaphors and epiphanies within the making of craft, discussed from micro and macro perspectives. The search for the garden of fiber delights includes discussions and reflections about the artistic practice in relation to thinkers as sociologists Bruno Latour and the actor-network theory, and Hartmut Rosa, and his theory about an accelerating society and the need for resonance. Some of the artists referenced in the paper are Hilma af Klint, Yayoi Kusama and Niki de Saint Phalle. The main wonder of this project and paper is: what will happen when I as an artist start to respond to the seed of resonance within, and not follow the norms and expectations emerged by capitalism causing stress? How can this knowledge be applied in the meeting with other people in need of healing and rest?

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    fulltext
  • 12.
    Andersson, Cecilia
    et al.
    University of Arts, Crafts and Design, Department of Visual Arts and Sloyd Education.
    Sazdic, Miro
    University of Arts, Crafts and Design, Department of Crafts (KHV), Ädellab (Jewellery and Corpus).
    Perspectives on intersectionality through craft and pedagogy intertwined: An interdisciplinary collaborative exploration of education and production of knowledge as basis for social sustainability at Konstfack University College of Arts Crafts and Design2016Conference paper (Other academic)
  • 13.
    Andersson Åsman, Hanna
    University of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    femmebada med mig2019Independent thesis Basic level (degree of Bachelor of Fine Arts), 20 credits / 30 HE creditsStudent thesis
  • 14.
    Avergren, Emmi
    University of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    Det känns som att ingen vågar äta mig nu: En modedesigners önskan att förändra världen2020Independent thesis Basic level (degree of Bachelor of Fine Arts), 20 credits / 30 HE creditsStudent thesis
    Abstract [sv]

    Jag definierar mig som mode - och textildesigner och som aktivist. Som examensprojekt har jag designat en vegansk modekollektion där jag har använt mig av tyger som jag målat och färgat själv. Jag lyfter hantverket i en modekontext och vill visa styrkan i det handgjorda. Att skapa veganskt mode betyder att jag inte använder mig av djurs kroppar, hud eller päls. Jag avstår alltså helt från att använda skinn, siden, ull, päls, dun och fjädrar. Jag vill visa att det går att skapa mode utan att utnyttja och döda djur i processen. Kollektionen presenteras dels som en konceptuell konstfilm men också i form av modefoton. Jag ser uppsatsen som ett sätt att upplysa, utbilda och skapa debatt kring vilka djur vi äter och vilka vi bär på kroppen. Uppsatsen är också en del av gestaltningen. Konstfilmen är inspirerad av surrealism och är en utopi och dystopi på samma gång, med flera världar i en. Den är ett experiment i hur en kan kombinera mode, koncept, konst och djurrättsaktivism i ett och samma projekt. 

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    Det känns som att ingen vågar äta mig nu - en modedesigners önskan att förändra världen
  • 15.
    Bahlner, Sofia
    University of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    Experimania2021Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    I have made an investigation in how I can encourage curiosity in textiles with a specific interest in its structures. I have found that repetition is one efficient way to make a separate building element disappear into its own mass and instead be viewed as a surface. I researched how different surfaces are created by experiment with materials and techniques and looked into the big role tactility plays when curiosity in textiles are created but as well realized that a haptic experience can be reached not only with skin but through the eyes.

    The experiments and elaborations I made took my ideas beyond my starting point and further than I first could imagine. I explored and questioned hierarchies and values of materials by the way I used and combined them. By doing so I realized and discussed the dilemma of being positive to the idea of letting people experience my work through touching and the issue with sustainability, duration and demolishing the patterns while doing so. 

    Through this paper I aimed to find a definition for what fiber art can be today. I didn´t find one or totally uniform answer but it seems to me that it´s a movement that stretches over diverse material fields and has an underlying power to push boundaries and traditions and break free from classifications.

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    Experimania
  • 16.
    Bakken, Maja
    University of Arts, Crafts and Design, Department of Crafts (KHV), Ädellab (Jewellery and Corpus).
    Thinking Inside The Box2020Independent thesis Basic level (degree of Bachelor of Fine Arts), 20 HE creditsStudent thesis
    Abstract [en]

    I am part of and dependent on a bigger unit – humanity. I am one of the small parts that build up this organism. Being human is an identity that I cannot choose, sometimes it is heavy to carry this role but it is also a support – and necessary for my survival.

    My text describes some of the experiments I have performed, a few pages from my journal and some thoughts on which I base my making. My method has been an ethnographic exploration with myself and some objects I created as tools for researching my own body in relation to public spaces, using similar methods as Gösta Arvastson and Billy Ehn describe in their book Etnografiska Observationer (Arvastson & Ehn 2009). 

    I noticed unconscious synchronised patterns of movement performed by people inhabiting public spaces. After some experiments I realized that I feel insecure when I break those patterns. It became clear to me that my body is programmed to, and does its best, to fit into certain norms. However, sometimes I am incapable or don´t want to conform.

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    Thinking Inside The box
  • 17.
    Beckman, Katja
    University College of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    Structures of a depiction which I no longer remember2016Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    I'll make a big, yellow tapestry.

    In the project I'll examine textures and surfaces in a monumental tapestry, and the translation of an image into a tapestry through reliefs and materials.

    I'm a tapestry weaver, and in this project I'll work with structures and the sculptural aspect of weaving in an abstract tapestry. My aim for my textiles in general is to give the viewer a sublime feeling when they meet my work.

    In an extended scene this is a textile version of a photography. When I look at something for a long amount of time, it'll turn into structures, then the image itself is not so important anymore but the memory of it. This is a tapestry where I have turned this memories into structures in textile material.

    This project is a research in many various woven structures and techniques, which is arranged intuitively. It doesn't have a specific message but to re-create the sense of many and complex feelings. The different structures portrays the process of memories, like solitude, fears, tenderness, abstraction/imagination and concrete reality. This tapestry is the result of many experiments with the form and structure.

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    fulltext
  • 18.
    Bengts, Rokko
    University of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    Fångsten och fången2023Independent thesis Basic level (degree of Bachelor of Fine Arts), 20 credits / 30 HE creditsStudent thesis
    Abstract [sv]

    I Fångsten och fången har två av mina främsta intressen förenats: handarbete och skärmaktiviteter. Jag har lekt med tanken om skärmen som en samtidens nyckel till ett tanklöst tillstånd människan på olika sätt alltid eftersträvat. Med hjälp av textila metoder har jag materialiserat och manipulerat (upcyclat) digitala filer för att understryka likheter och skiljaktigheter mellan det digitala och det textila. Arbetet har resulterat i ett undersökande av hur ett nöje kan utvecklas till en fångenskap.

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    Fångsten och fången - Rokko Bengts
  • 19.
    Bengtsson, Jonas
    University of Arts, Crafts and Design, Department of Crafts (KHV), Ceramics & Glass.
    Den Konstnärliga skapandeprocessen.: Ett personligt perspektiv.2018Independent thesis Basic level (degree of Bachelor), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    By reflecting upon the works I make and my thoughts surrounding them I've been looking to develop my way of understanding and working with art. By looking at both creative and emotional aspects underlying the artistic process I try to understand what impact they have on both the art and the artist.

    Through my working process and by writing about my thoughts and emotions during this project I come to the conclusion that this is what can be referred to as a cathartic experience for me.

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    fulltext
  • 20.
    Berg, Fredda
    University of Arts, Crafts and Design, Department of Crafts (KHV), Ceramics & Glass.
    Clonehenge:Mancave2019Independent thesis Basic level (degree of Bachelor of Fine Arts), 180 HE creditsStudent thesis
    Abstract [sv]

    Mitt examensarbete tar avstamp i hur historia och historieskrivning alltid ärspekulativ. I det skrivna arbetet har jag undersökt hur avbildningar och teorierkring förhistorisk tid ser ut, och diskuterar tendensen att fylla historiskainformationsgap med antaganden som på olika sätt speglar och förstärker samtidanormer.

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    fulltext
  • 21.
    Bertlin, Linnea
    University of Arts, Crafts and Design, Department of Crafts (KHV), Ädellab (Jewellery and Corpus).
    En strävan efter det normala2019Independent thesis Basic level (degree of Bachelor of Fine Arts), 10 credits / 15 HE creditsStudent thesis
  • 22.
    Bjurmar, Johan
    University of Arts, Crafts and Design, Department of Crafts (KHV), Ceramics & Glass.
    Hållpunkter - Landmarks: En reflektion över begreppet landskap2018Independent thesis Basic level (degree of Bachelor of Fine Arts), 180 HE creditsStudent thesis
  • 23.
    Björkqvist, My
    University of Arts, Crafts and Design, Department of Crafts (KHV), Ädellab (Jewellery and Corpus).
    (         ) missing2019Independent thesis Basic level (degree of Bachelor of Fine Arts), 15 credits / 22,5 HE creditsStudent thesis
  • 24.
    Blitz Heyman, Hannah
    University of Arts, Crafts and Design, Department of Crafts (KHV), Ädellab (Jewellery and Corpus).
    Better than nature2021Independent thesis Advanced level (degree of Master of Fine Arts (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    Better than nature is an exploration originating in virtual spaces and the speculative objects inhabiting them. It is about the inherent (un)balance between humans and nature’s materials, and how we interact with processed versions of organic constituents. My physical work is composed of handcrafted components and readymades, all rendering different aspects of a forest and consequently they create a simulated utopia of things.

    Through the process of depicting symbols derived from the realm of a forest this project’s aim has been to approach nature landscapes with the intent of highlighting my disconnectedness from nature and its materials.

    With this paper my target has been to contextualize my artistic practice from discussions based on my practical and theoretical research; A blend of lived experiences, investigations of the characteristics found in terrestrial materials, organic and compassionate surfaces and the function of ornament in our time.

  • 25.
    Borén, Evelina
    University College of Arts, Crafts and Design, Department of Crafts (KHV), Ädellab (Jewellery and Corpus).
    Ur fokus: Ett arbete om osynlighet inom, utanför och utan den fysiska kroppen2016Independent thesis Basic level (degree of Bachelor), 5 credits / 7,5 HE creditsStudent thesis
    Abstract [en]

     My subject is invisibility.

    In order to thoroughly investigate the subject, I applied the concept of invisibility inside, outside and without the physical body. I have investigated what has to give way to that which comes into focus, and the shift in value that occurs when something is highlighted or added at the expense of something else. To avoid seeing something is to prevent it from taking up space and consequently drain it of value. We reduce the uncomfortable by placing it, consciously or unconsciously, in the background hoping it will disappear. The act of avoidence gives a false illusion that the situation could be reduced to a point of vanishing. As if that which has not been seen, never happened.

     

    Not being able to acknowledge the uncomfortable could be the result of not wanting to recognize difficult aspects concerning oneself, such as shame or guilt. The fear of having to identify with feelings that negatively charged makes the reflection unbearable to meet. An uncomfortable situation can therefore appear so piercing to the eye that it becomes almost invisible.

     

    Through my process, I chose to use psychoanalysis and phenomenology as different tools of perspective to try to get closer to what, how and why we see what we see. This includes how we for instance handle the idea of someone or something when the physical body is absent. How we, through traces of human behavior relate to an object by the motion and technique that shaped it. Or the idea of being able to relate to the idea of an object, and thus "actualize" things that are not really there. I also investigated the shaping of one's identity. How we sometimes construct our bodies, stretch and transform ourselves to be seen. Where the qualities that others recognize and appreciate become the very thing you begin to visualize, maybe even identify with. A place of transformation, where bodies can take the shape of others, or take the shape of the contact with others. But also a place of reduction, a struggle between bodies where one is reduced to feed the other. I have also investigated how ignored bodies have to relate to the ruling norms, surroundings and laws created by others, and how the passive room can become an active component that reveals you as out of place.

     

    For me "invisibility" speaks a destructive and fragile language. I am therefore using materials such as glass, porcelain and lead in my work consisting of corpus objects. I define corpus as body related objects that find their context in the eating, and through eating it incorporates the table and craft tradition of silversmithing. As a body related object, corpus becomes a “substitute body” or "a body in my place." Corpus can squeeze, lift, divide, carry, devour, hold, leak, hide and preserve. Bodily functions transferred into another body. I even believe it possible to transfer part of ones identity into corpus. I decided to let the context of focus shift from the table to the relationship corpus has to the human body. Since corpus, unlike for instance jewellery, has no acknowledged place on the human body, it instead finds itself relating to human behavior. Because of the space between user and object, it’s another kind of intimate relation that also connects to the movement of the human and the space in which she moves. My creative work is therefore explained by other bodies / body parts closely linked to our everyday lives.

     

    Working with the definition of corpus as a substitute body, I have chosen the concept of "destructive prostheses" to interpret my view of invisibility.

  • 26.
    brandeus kirkkopelto, kristina
    University of Arts, Crafts and Design, Department of Crafts (KHV), Ceramics & Glass.
    Till death do us apart2021Independent thesis Advanced level (degree of Master (One Year)), 80 credits / 120 HE creditsStudent thesis
    Abstract [en]

    A recent discovery made at Bar-Ilan University in Israel, demostrated in a scientific setting that the human mind has a neural mechanism actively making the self avoiding thoughts about its own mortality. Curiously enough the research further suggests that an awerness of the selt's death could potently lead to a more meaningful life.There is an inclination around being sick and weak, holding back how we approach end of life care and our inherent mortality; which in return affects presence and expectations regarding our lives. If death and transience were to be viewed as natural occurences, mirroring how we view horticulture and gardens, this could ease anxiety and phobia regarding the end.In my paper I am sharing research by Athul Gawande and Elisabeth Kubler-Ross regarding death-phobia and end of life care. As suggested in some of the literature, death-phobia may occur due to anxiety over not living a meaningful life and I am using Lev Tolstoy's fictional book The Death of Ivan Ilyich to evoke thought about mortality and what a meaningful life could be compromised of.In my conclusion and through my sculpture of enlarged flowers made out of cast glass and high fired stoneware; I modestly argue that love and presence can provide meaning and solace, for conquering  death-phobic acculturation. That by acknowledging that transience is a forum for beauty one could enhance the magic of the mundane. 

  • 27.
    Broman, Alma
    University of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    En Process2022Independent thesis Basic level (degree of Bachelor of Fine Arts), 20 credits / 30 HE creditsStudent thesis
    Download full text (pdf)
    fulltext
  • 28.
    Brown, Hannah-Molly
    University of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    How is craft a tool for humbling and empowering humanity?: An investigation into learning, and empathy building through material relationships.2021Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    Our value of people and craft are linked. With the rise of fast production 

    industry, and the lack of transparency when it comes to a role of consumption, we have become detached from making processes. This detachment is 

    detrimental to our understanding and empathy for other people but also to ourselves. It perpetuates disposable ways of living and keeps us reliant on 

    disposable consumption. 

    Craft is an undervalued tool which can be utilised in historical learning as well 

    as anthropological study today. In doing so, we are able to understand more about humanity by inspecting craft through the ‘three facet’ lens. We are then 

    able to develop empathy for other people and other cultures, through the non- tangible space created during the process of crafting. For those who do craft, 

    this recognition is empowering and enables cultural ownership. It also empowers us as individuals, when we are able to produce something ourselves 

    and physically see the learning process. 

    This means we can recognise who has made our objects, and appreciate the 

    time, skill and commitment which goes into the undertaking. This encourages us to appreciate objects, to consider our ways of living and move away from 

    disposable consumption. 

    Through a comparison of the relationship to craft that is held in Peru, with that 

    of the relationship we hold in the UK, and broadened by my experience living and teaching in Sweden, I conclude that industrialisation and colonialism has a 

    role to play, but ultimately, the power and potential of craft, is physically in our own hands. 

    I propose using the ‘three facets’; Utility, Aesthetics and Connectivity, as a way to break down the information documented through craft, to analyse, at a deep 

    level, what can be gained from craft appreciation. 

    Download full text (pdf)
    fulltext
  • 29.
    Brydewall Sandquist, Klara
    University of Arts, Crafts and Design, Department of Crafts (KHV), Ädellab (Jewellery and Corpus).
    POETIC JUSTICE2020Independent thesis Advanced level (degree of Master (Two Years)), 20 HE creditsStudent thesis
    Abstract [en]

    At best anger is problematic for most of us and especially an issue for women (and other discriminated groups). True a collaborative craft project focusing on silver objects, I investigate female anger and how it is perceived. Also, how the prevention of acting it out silences our need for change. I use the aesthetics of magic to reference the judging of women acting outside of set rules, and also as a tactic of female liberation.

    Download full text (pdf)
    POETIC JUSTICE
  • 30.
    Burchardt, Roberta
    et al.
    University of Arts, Crafts and Design, Department of Crafts (KHV).
    lambert, matt
    University of Arts, Crafts and Design, Department of Crafts (KHV).
    Editorial note2023In: Field notes / [ed] Adriane Dalton, Stockholm: Konstfack , 2023, p. 3-6Chapter in book (Other academic)
    Download full text (pdf)
    Field notes
  • 31.
    Bylén, Johanna
    University of Arts, Crafts and Design, Department of Crafts (KHV), Ceramics & Glass.
    common ground2021Independent thesis Basic level (degree of Bachelor of Fine Arts), 20 credits / 30 HE creditsStudent thesis
    Download full text (pdf)
    common ground
  • 32.
    Bäckström, Maja
    University of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    Hanging on by a thread: Confronting mental illness and manifesting love through embroidery2020Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    In this paper I investigate the emotional benefits of textile crafts in general and embroidery in particular. How can embroidery be used to express love and care for others? Can embroidery be used as a therapeutic tool? Using my own embroidery project Flower heart as a starting point, my research goes into craft as a manifestation of love, from handmade gifts in the 18th century to contemporary art, and crafting as a therapeutic medium, from rehabilitation of soldiers after WW1, to a recent study on 92 Finnish craft makers. My material is based on research on (textile) craft, research on occupational therapy, interviews with contemporary embroidery artists Michelle Kingdom, Alexandra Drenth and Willemien de Villiers, as well as my own experiences with the project Flower heart. My conclusions are that there are many emotional benefits to textile crafts. Our crafts can comfort us from sorrow, help us deal with pain, both physical and mental, make us connect to one another, provide meaning to our lives, anchor us in the present and live on long after we are gone as a manifestation of our lives and our love.

    Download full text (pdf)
    Hanging on by a thread
  • 33.
    Clarén, Storm Philippa
    University of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    Crafty Crib: Drömmen om ett förstahandskontrakt2020Independent thesis Basic level (degree of Bachelor of Fine Arts), 20 credits / 30 HE creditsStudent thesis
    Abstract [sv]

    Mest av allt önskar jag att det var mitt namn som stod på dörren. Då skulle jag måla väggarna randiga och köpa husdjur. Känna mig fri. Men jag orkar inte vänta 10,5 år i bostadskön, så nu skapar jag min egna bostads-utopi. Jag har flyttat fjorton gånger och det räcker nu.

    I mitt examensprojekt använder jag färg och textilt konsthantverk för att ifrågasätta Stockholms bostadspolitik. 

    Download full text (pdf)
    Crafty Crib - Drömmen om ett förstahandskontrakt
  • 34.
    Davida, Mira
    University of Arts, Crafts and Design, Department of Crafts (KHV), Ceramics & Glass.
    Stalking the Zone of Sentience: A Journey with Glass2023Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    In this writing, I guide the reader through different aspects of the emotional understanding and experiencing of art. The general purpose of the research is to argue that aesthetic experience is intertwined with various emotional stages. I attempt to decipher the meaning of an imagined or recreated nature (landscape and creatures) by other artists and then focus on my own realizations in creating it. To undertake this challenge, I aspire to understand the unconscious emotional connections of nature to humans, as well as the related notions of the uncanny and the corporeal. The methodology of the research is partly by finding evidence from the discipline of psychology and phenomenology, partly introspective and also process-based (technical) by focusing on the discipline of glass making. The paper’s main conclusions are embedded in my final work, which serve as an illustration as well as qualities of a craft-based research.

    Download full text (pdf)
    fulltext
  • 35.
    de Leeuw, Micael
    University of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    Absolvering2022Independent thesis Basic level (degree of Bachelor of Fine Arts), 20 credits / 30 HE creditsStudent thesis
    Abstract [sv]

    Utförande, realiserandet av en omformad tanke, en viktig del av ett processuellt arbete som handlar om något som allting egentligen balanserar på, det handlar om bearbetning i stunden och en lekfullhet som är starkt bunden till känslan som får mig att påbörja något, fortsätta med något. En strävan att uppnå ett visuellt bevis på vad jag har varit med om, så att jag kanske kan få se på dig vid ett senare skede och komma ihåg hur det var när vi hade vår tid tillsammans, och se framåt mot en tid med någon annan som liknar dig, där momentets rörelse ändrar tempot på utförandet och påverkar känslan i verket jag slutligen har framför mig. En viktig, om inte den viktigaste aspekten som påverkar det som händer i tankarna, är hastigheten som spelar en viktig roll då den kan orsaka en omedelbar och inte sällan impulsiv förändring eller ha ett tempo som är mer resonerande och mindre impulsivt och mer betänkt; jag tycker om när jag låter det pendla mellan det betänkta och impulsiva. Det skapar en behaglig rytm i skapandet. Tänk dig att åka på motorvägen men sen byta till en landsväg där du bara får köra trettio, vägarna upplevs helt olika, vilket sätter tonen, avgör rytmen, rörelsen. Att repetera de olika momenten på varierande vägar, underlag. I det finner jag att känslospår kan visa sig, när jag tar ett steg tillbaka, ser på det jag har gjort. Dom olika stegen i en process slutar all- tid med sorgen för mig, då vet jag att tiden är inne, att det är klart och det är dags att ta distans, för att få perspektiv på vad som har skett. Att låta akten formuleras i ord, någon gång.

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    Absolvering
    Download (jpg)
    omslag
    Download (pdf)
    Dokumentation
  • 36.
    Diedrich Sjödin, Linnéa
    University of Arts, Crafts and Design, Department of Crafts (KHV), Ceramics & Glass. 199304168249.
    SMÄRTA LUST TRSNSFORMATION2020Independent thesis Basic level (degree of Bachelor), 20 credits / 30 HE creditsStudent thesis
    Download full text (pdf)
    fulltext
  • 37.
    Domeij, Tina
    University of Arts, Crafts and Design, Department of Crafts (KHV), Ädellab (Jewellery and Corpus).
    An exploration of cultural identity in creative practice2020Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    My work is about the feeling of standing in between two worlds of my cultural heritage. To feel connected but at the same time not connected to them. The feeling of missing out in one of my cultural heritage because of the language that I do not fully speak. I use a traditional craft from that side to build a bridge to fill the gap. It is about combining my heritages and the connection/disconnection and fuse them together into one as I am a person of two cultures. By not putting myself in a box that the society wants me to fit in to, I challenge that norm also in my work. I transformed the traditional craft placed in a room of a house to become jewelry. The wearer is allowed to choose what kind of jewelery it is and it can be placed on many different ways. My work is about investigate the meeting of craft on a body, and body in a craft. Its about to invite the Thai practice to my Swedish practice and vice versa and fuse them together. 

    Download full text (pdf)
    An exploration of cultural identity in creative practice
  • 38.
    Dover, Noam
    University of Arts, Crafts and Design, Department of Crafts (KHV), Ceramics & Glass.
    EMBRACING THE DIGITAL TO THE HAND MADE: Bridging digital technology with glassblowing moulds crafting methods2017Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    Abstract

    This report accompanies my Master project in the fields of ceramic and glass, the CRAFT! MA program, Konstfack. In this project I fuse my industrial design toolbox and my current engagement in open-source 3D printing technology with my ceramic and glass craft practice. The first pair brings in notions of innovation and an active approach towards technological change, while the second carry ancient craft methods and knowledge. I develop and make 3D printers for clay and use them as an experimental ceramic work method. In this research based practice I use ceramics as the material for 3D printed glassblowing moulds. This act represents a link between ceramic and glass crafts, one that was known to the ancient Roman craftsmen. 

    A view on craft and digital innovation

    Although the computer is in use for several decades now, in most crafts it is still used mainly as an assistive device and we seem not to look at it as a professional tool; as a craft tool. New methods of making are out there. We need to have two toolboxes now: Our traditional one and our new digital one. We can already CAD our concepts, control CNC machines and build 3D-printers customised to our growing new practice. We share our new knowledge on open-source platforms, teach each other through the web (and around the globe) how to apply digital techniques to our craft. We now have the opportunity to join hands with the movements of democratisation of contemporary manufacturing techniques and reinvent our practice, our tools and what new-craft could be.

    Download full text (pdf)
    ND_PAPER_2017
  • 39.
    Dovsten, Evelina
    University of Arts, Crafts and Design, Department of Crafts (KHV), Ceramics & Glass.
    Every sampling is a testimony2019Independent thesis Advanced level (degree of Master (Two Years)), 80 credits / 120 HE creditsStudent thesis
    Abstract [en]

    A self portrait. With an auto ethnographic study method and my own craft; glass making I examine tacit knowledge. A portrait not only of me, but also the human in need of control. An invite to look at our society and see how the measurable is in charge and positivistic science have the leading position in knowledge production. 

    I aim for the subjective, the knowledge stored in my body which is passed on through making, in to the glass to be kept.

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    fulltext
  • 40.
    Dovsten, Evelina
    University College of Arts, Crafts and Design, Department of Crafts (KHV), Ceramics & Glass.
    Verktyglighet2016Independent thesis Basic level (degree of Bachelor), 180 HE creditsStudent thesis
    Abstract [sv]

    Jag har skapat ett verktyg för att kunna synliggöra mina egna tysta kunskaper. Under 120 timmar blåste jag en och samma form och sparade allt i en kronologisk ordning. Formen eller glaset blev ett verktyg genom vilket jag sedan kunde studera min kroppsliga inlärning utifrån. Jag ser mitt verk som en processberättande dagbok. Ett utsnitt av ett arbete ur vilket jag sedan kan betrakta min kroppsliga inlärning ur ett nytt perspektiv; genom glaset.

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    Verktyglighet.Dovsten
  • 41.
    Edwardh, Johanna
    University of Arts, Crafts and Design, Department of Crafts (KHV), Ädellab (Jewellery and Corpus).
    Slow down faster2023Independent thesis Basic level (degree of Bachelor of Fine Arts), 20 credits / 30 HE creditsStudent thesis
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    Slow down faster
  • 42.
    Eggertsdottir, Sigridur
    University College of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    Allt bebor kaoset2016Independent thesis Basic level (degree of Bachelor of Fine Arts)Student thesis
  • 43.
    Ek, Isabella
    University of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    Fragment2019Independent thesis Basic level (degree of Bachelor of Fine Arts), 20 credits / 30 HE creditsStudent thesis
    Abstract [sv]

    Ett undersökande arbete om subtilitet, fotografi, text och konsthantverk. Om tydlighet, otydlighet, att upplösa och omforma.

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    fulltext
  • 44.
    Eklund, Johanna
    University of Arts, Crafts and Design, Department of Crafts (KHV), Textiles. eklundeklund.eu.
    ONE SIZE FITS ALL :): An EKLUND EKLUND Movie2019Independent thesis Basic level (degree of Bachelor of Fine Arts), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    I create to heal wounds – personal, emotional and social. I create to break the patriarchy  and normative systems that excludes people of different genders, sexualities, colours and bodies. I make human wear – fashion for bodies of all sizes and genders. I want people to be comfortable with themselves and their bodies and that is the goal with my brand EKLUND EKLUND. 

    The fashion world today consists of “his and hers”, size zero, “wear and tear” and sexist ads, all of which maintains heteronormativity and sick beauty ideals. Clothes are made for “women” and “men” in size XS-XL, leaving everyone outside of those norms excluded. 

    I will research the gender - and beauty norms in western media and fashion and how it affects people and their self esteem. How can I make fashion inclusive and socially sustainable? Can I make clothes that fits all? 

    I’m gonna make a One Size Queer Couture Collection to include different expressions and bodies to change the norms of gender and size. One Size that adjusts to different shapes and sizes, Queer as in genderless for everyone and Couture as in hand-made fashion. 

    I will achieve this through experimental pattern making, non-normative design and a presentation of the clothes with and for people confronting norms of gender, sexualities, beauty and colour.  

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    ONE SIZE FITS ALL :)
  • 45.
    Elggren, Sara
    University College of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    No. 1-2-3-4!: (Motoric Key)2016Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    No. 1-2-3-4! (Motoric Key) consist of a weave series and a printed edition. Each piece with the outline 21x21 cm, a size similar to a hand, or a handkerchief, generic in the relation to a blueprint of a weave sample or a leaflet; a utilitarian object to use and be used. An economical outline that enables a mobility and simplicity of direction. A one made as one, one, one, through two years. A handkerchief tool. Potential efficiency, tunes and characters, stating the importance of listening as a way of working.

    Download full text (pdf)
    Elggren no1234
  • 46.
    Ellis, Layne
    University of Arts, Crafts and Design, Department of Crafts (KHV), Ädellab (Jewellery and Corpus).
    Learning to Read the Flesh2021Independent thesis Basic level (degree of Bachelor of Fine Arts), 15 credits / 22,5 HE creditsStudent thesis
    Abstract [en]

    “Who are you?” cradled in the mouth of those closest to you may present a welcome

    pause for contemplation of one’s being. But in those unknown or seemingly strange, an

    unwelcome suggestion at our fickle position so often between Self and Other. It is in the

    gaze of another that we must learn to be Read. To be outfitted in a moment with a

    series of words and condensed descriptions. To contend with the lurking shadow of

    judgement we both give and receive. To deal with the unknowing or deep knowing that

    we are not exactly as we are perceived. Learning to Read the Flesh speaks to

    embodied fiction of these stereotyped finalities. It is built from my journey of contending

    and learning to be seen, Read, and ultimately to embrace my Other. It acknowledges

    the destructive quality of Shame but hopes to center the continuation of its Story. It is

    this Story from which the face of Other can be rebuilt and Self re-defined. It is in this

    space I hope we can all find the freedom to Play.

  • 47.
    Englund, Lisa
    University of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    Translating the wilderness2023Independent thesis Advanced level (degree of Master of Fine Arts (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    I weave figurative tapestries, working with themes regarding our relationship to the wild, both in nature and ourselves. I dye my yarns with mushrooms and plants I pick in the forest. I go through this trouble because I want the material to carry a story within itself, I see it as giving it life. This method makes the work divided in three main steps: the foraging, the dyeing, and the weaving. 

    Download full text (pdf)
    fulltext
  • 48.
    Eriksson, Agnes
    University of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    5 tips för att lindra din klimatångest2020Independent thesis Basic level (degree of Bachelor), 20 credits / 30 HE creditsStudent thesis
    Download full text (pdf)
    fulltext
  • 49.
    Eriksson, Lisa
    University of Arts, Crafts and Design, Department of Crafts (KHV), Ceramics & Glass.
    Minnets Materialitet2023Independent thesis Basic level (degree of Bachelor of Fine Arts), 20 credits / 30 HE creditsStudent thesis
    Download full text (pdf)
    Minnets Materialitet
  • 50.
    Eriksson, Malin Ida
    University of Arts, Crafts and Design, Department of Crafts (KHV), Ceramics & Glass.
    In Dialogue with Clay2020Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    This paper is about my relationship to the material clay, and how it has affected my creative process. In this text I argue that clay is a material with human properties. I think of my practice as a dialogue between me and the material, an exchange rather than a monologue. This is how I picture clay as my main partner for discussing the deeper questions of what it is to be human, how clay as material can stand as metaphor for what it is to be living. I argue that clay has the poetic strength to communicate these questions of life of a more existential nature.

    Through the argument of clay being a material with human properties, I reason that a practice in materiality is a study of empathy since we spend much time with our materials to fully grasp how they behave. I firmly believe that this world is in need of an empathic movement, and I think that the field of craft has the possibility to be part of that movement. I see practitioners within the field of craft as practitioners of the sometimes irrational, emotional and indescribable parts of life. As researchers of the more existential qualities of life, I believe that we are important voices in a society that is getting more focused on rationality. With some help from writers, practitioners and philosophers within and outside the field of craft, I reason around the following research question:

    Can a material based practice stand as lodestar in todays society, to show empathy towards each other as beings as well as our surroundings?

    Download full text (pdf)
    Malin Ida Eriksson - In Dialogue with Clay
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