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  • 51.
    Engberg, Sara
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Mikrokosmos1998Självständigt arbete på avancerad nivå (magisterexamen), 20 poäng / 30 hpStudentuppsats (Examensarbete)
  • 52.
    Eriksson, Klara
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Hybrider2001Självständigt arbete på avancerad nivå (magisterexamen), 20 poäng / 30 hpStudentuppsats (Examensarbete)
  • 53.
    Eriksson, Klara
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Vördnaden för det nästan osynliga: tre huvudsmycken1998Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 54.
    Eriksson, Petronella
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Den omöjliga lösningen1998Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 55.
    Eriksson, Petronella
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Komplexa, dekorativa smycken2000Självständigt arbete på avancerad nivå (magisterexamen), 20 poäng / 30 hpStudentuppsats (Examensarbete)
  • 56.
    Erixson, Jacob
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Lost in Identity: - A case study of three jewellery practices andhow they can function as codes of identity2012Självständigt arbete på grundnivå (kandidatexamen), 5 poäng / 7,5 hpStudentuppsats (Examensarbete)
    Abstract [en]

    During a major part of modernity the concept of identity was something that in many ways was predetermined for the individual. People in general remained in the same social spheres as the generations before, shared common religions and beliefs and where more or less bound to a geographic area. Identity and lifestyle was something that was adapted quite unreflected from habit and tradition. Though, during the cultural modernisation process that took place in the twentieth century, previous shared patterns of interpretation vanished and became individual.  Finding references, constructing an identity and establishing a self became individual. There was also a shift in the relationship to the objects that surround us. Instead of seeing the objects from a functionalistic view, objects and commercial goods also became representations of ourselves that sent out signals of who we wanted to be as individuals. The globalized media society that we have today gives an opportunity where we can pick up elements from different phenomena in society to create an eclectic blend of references as a way to construct our own lifestyle and unique identity.

    This essay deals with the question of how jewellery can function as a mark of identity. I have investigated three different jewellery practices to see what possibilities jewellery have as a potential communicator of identity. The jewellery practices that I investigated are Bling Bling jewellery within the Hip-Hop culture, jewellery in the Black Metal community and contemporary jewellery art in Sweden.

    What I found in common between these, at the surface very different cultural expressions, is that they mix different cultural references in a way similar to collage. By doing that they create new patterns of interpretation and codes that can be read by the ones initiated, which creates a sense of belonging and identity. Another aspect of jewellery within these practices is that the wearer or the maker charges the artefact with a meaning. To state either by making or wearing a piece of jewellery that this object stands for or talks about this and then communicate that to the surrounding. And if others accept these values it creates a common code of identity.

  • 57.
    Eweman, Inger
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Bruksting: från skum till skål2001Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 58.
    Ferreira, Gustafsson, Marcelo
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning. Konstfack, Institutionen för konsthantverk (KHV), Ädellab.
    Delirium: From the depths of mania2018Självständigt arbete på avancerad nivå (masterexamen), 20 poäng / 30 hpStudentuppsats (Examensarbete)
    Abstract [en]

    This document explores and expands my perspective on dealing

    with mental health issues, grieving and sorrow through a material

    based practice. It portrays private spaces that grows

    and seeks universal connections. Feelings that is persevered

    between layers that takes physical form between the skin and

    the fabric.

    Adornments manifests themselves through the body, and when

    they are passive and sleeping, they dream of belonging.

  • 59.
    Forss, Ida
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Ex voto: smycken2002Självständigt arbete på avancerad nivå (magisterexamen), 20 poäng / 30 hpStudentuppsats (Examensarbete)
  • 60.
    Forss, Ida
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Mumiegömmor: ett smyckeprojekt2000Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 61.
    Forsström, Susanne
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Längtan bortom språket2008Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 62.
    Frank, Tarina
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Life Preservers: Investigation of Traditional Amulets, Contemporary Amulets, Theoretical Amulets, and the overlap with Contemporary Wearable Objects of Protection and Safety2015Självständigt arbete på avancerad nivå (masterexamen), 80 poäng / 120 hpStudentuppsats (Examensarbete)
    Abstract [en]

    Jewelry is most commonly understood as a small decorative item worn for personal

    adornment. Elaborate, artistic, hand-made jewelry is historically and culturally relevant in telling us about the beliefs and traditions of different cultures and civilizations. Jewelry is often thought of as an identity object, but I suggest that amulet and talisman jewelry are not identity objects. Amulets and talismans are objects that interact with the wearer and they do not aim to communicate with others about ones identity. My artwork has begun with the quest of making forward-thinking objects or contemporary amulets. Amulets and talismans were once created to protect us and we put our faith into them in order to answer the unsolved mysteries of the universe. Illness, luck, wealth, evil, death, birth, all provided (and still provide) uncertainty. However, with modern advances in technology, we might assume that the need for such magical objects becomes absolute.

    Within contemporary Western society amulets and talisman might have become less popular and less widespread, but not extinct. I investigate how spiritual objects have been replaced by safety objects, like the bulletproof vest, the life preserver, and the helmet and I question whether these objects have any similarities or overlap with the traditional amulet or talisman. We may not recognize the existence of amulets in our daily lives, but many of the objects we keep close to us become more than functional or aesthetic objects. These objects can represent our faith and our trust in the ritual and routine in our lives.

    Through research into historical and contemporary amulets, I have developed a body of artwork I have titled the Life Preserver. The Life Preserver is a series of necklaces in the form of life jackets that blend the idea of the contemporary safety object with a spiritual amulet. These amulet Life Preservers challenge the common understanding of jewelry through its use of material and its form. I hope to challenge both the jewelry field and myself to believe in the powers of these necklaces as a source of protection and spiritual strength.

  • 63.
    Frejd, Martina
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Souvenirer: minnessmycken2001Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 64.
    Frid, Matilda
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Corpus Leakage2014Självständigt arbete på grundnivå (kandidatexamen), 5 poäng / 7,5 hpStudentuppsats (Examensarbete)
    Abstract [en]

    We understand the world around us through categorization and classification. But things are morecomplex than that, life is mixed up, flowing and unable to stick to labels. The main purpose ofcorpus is to contain, organize and control food and beverages. Corpus objects are also socialmarkers that have a tradition of being elitist; in both choice of material and in that they imply acertain way of usage. Corpus objects are heavily loaded with tradition and rituals. However, eatingis a common experience, it is an everyday ritual and often something we do with others. How andwhat we eat is an expression of our everyday culture. The corpus object is a body on its own terms,and I believe that this opens up for an emotional relation to these objects. Corpus has the possibilityof creating meetings, situations where we can feel and talk about something human, through anobject. Objects within the craft/art field may go beyond mere objects, and open up for newmeetings, they may do something else to us than what we are used to, and hopefully they cancommunicate with us in a new way about our culture and our everyday life. I want to create thingsthat go beyond being objects, I want to highlight the body of the object, I want the object andsubject relation to leek and I want to celebrate the fuzziness and the uncertainty of things with my work.

  • 65.
    Frifarare, Katarina
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Mäsklighetens Maskerad: The act of appearance2015Självständigt arbete på grundnivå (kandidatexamen), 5 poäng / 7,5 hpStudentuppsats (Examensarbete)
    Abstract [en]

    Identity is a concept discussed in many different areas and there are a lot of perspectives and theories around what it consist of and how it comes to be. But it is also a word seen and used in our daily lives in the form of self-image and self-esteem. Professor Beverley Skeggs notes that we can talk about identities in plural rather than in singular due to the context. From that we are children we intuitively explore who we are by playing and role playing and our identities and self-image is influenced by several factors. How we then appear to the world has an important role. The Swedish professor Margareta Melin tested the importance of physical appearance on her students which the results showed that different appearance got different responses.

    By changing our body appearance we can also change our self-perception. The things you wear have an effect on how you will act and appear. It may be that your choice of appearance is an expression for someone you wish to be or an alter ego. A concept that many artists investigated, e.g. Olivier De Sagazan. The appearance of ones body becomes like a masquerade of the human social life. Where we in the one hand confirm the roles and expectations we have in society, and in the other trying to find our own core in who we believe and feel we are.

    Jewelry have had and still has a big role in relations to the human identity and communication between people and societies. It also has the potential of being an interactive medium for the wearer. In my project I am exploring how physical attributes, jewelry, changes the self-image and how we as individuals, together with our surroundings, construct identities by the way we appear to the world. I’ve explored how objects we dress ourselves with can function as instruments for transformation to become aware of our body-appearance.

  • 66.
    Fuentes, Romina
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Home: a study about homes in sculpture and contemporary art jewelry2009Självständigt arbete på avancerad nivå (magisterexamen), 20 poäng / 30 hpStudentuppsats (Examensarbete)
  • 67.
    Fält, Lisa
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Emotionella sprickor och utbrott - i en sorg2014Självständigt arbete på grundnivå (kandidatexamen), 5 poäng / 7,5 hpStudentuppsats (Examensarbete)
    Abstract [en]

    Intangible feelings of sorrow and grief, caused by events like separation, death, loss and trauma, all leave some kind of traces in us and they play an important role in our development. The individualistic society here in Sweden has shaped us to keep our feelings inside and at bay; since our childhood we have learnt that showing emotions like tears, sorrow and sadness are signs of weakness and can make others and yourself feel uncomfortable. With the starting point from my own experience and understanding of how we can deal and handle grief, I take a closer look on how jewelry, objects and rituals can be of importance in a grieving process and our lack of visual outer display of grief in today’s society. Through Sara Ahmeds theory I found a new possible way of understanding emotions and how they shape us. This is a contrast to our psychoanalytic way of understanding how we are formed as individuals. According to Ahmed, emotions and identity are created in actions and interaction with others and are under constant movement and therefore we need social context to be understood and seen. In order not to be isolated in our grief, we need support of others and when words are hard to find; rituals, corpus and jewelry, can be tools and signs to communicate.

     

    Things can be a link to what has been lost. They have a power to visualize emotions and communicate to yourself and others when words are hard to find.  In a situation of loss new rituals can be formed and be of help in accepting of what has happened. Thus it is possible to comprehend the changes you face. The starting point for this work was that I myself went through a loss, causing a feeling of numbness and disconnection and unreality. The crack in the wall in my apartment then became of help; it illustrated what was happening inside me and in my life. In this work the crack is a metaphor, a sign of turbulent emotions under the surface that cannot be contained any longer, causing leakage and eruptions. I use the crack as a filter for visualizing states in a grieving process. When a crack is formed it is often a sign of a sudden change and when it is emerging it is often through pain. It is also evidence that everything is moving. Even the things we consider to be the most stable are moving. Underneath the surface there is a vivid life going on and a crack can be the place where you can see some of the layers and fragments we consist of. This can be the place for something new to grow, new possibilities to form.  

  • 68.
    Garrett, Brice
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    ‘Homing’ through Jewellery2012Självständigt arbete på avancerad nivå (masterexamen), 80 poäng / 120 hpStudentuppsats (Examensarbete)
  • 69.
    Gimeno, Carolina
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Performing Jewellery: Jewellery, decoration, gender and performance2014Självständigt arbete på avancerad nivå (masterexamen), 5 poäng / 7,5 hpStudentuppsats (Examensarbete)
    Abstract [en]

    This essay is about the act of wearing contemporary jewellery has as a way of communication between human beings. I investigate the act of decorating the body as an important and basic human need. 

    This essay investigates the relationship between gender, feminine culture, and decoration within the Western world, thinking of jewellery as a socialisation method and not as a consequence of natural differences between sexes.

    This investigation presents a brief historical review of the role that jewellery has been playing in the relations between the genders and the changes it has undergone in terms of cultural process over the last centuries. I introduce to the reader the idea of performing jewellery with the aim of to highlight the relevance that decoration on the body has as a way to construct our identity. 

    The post-structuralist theories about gender and identity made by the feminist philosopher Judith Butler (Gender Trouble 1990, Undoing Gender 2004), and some philosophical perspectives on material culture, are used to support my investigation, to postulate that jewellery pieces can be viewed or understood  us as ‘queer apparatus… As a way to explore and experience  jewellery as a ‘queer apparatus, I have chosen few examples of contemporary jewellery. 

  • 70.
    Granath, Kristine
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Examensrapport2003Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 71.
    Grimborg, Lotta
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Den feminina maskeraden: Attributen som skapar ytspänningar2015Självständigt arbete på grundnivå (kandidatexamen), 5 poäng / 7,5 hpStudentuppsats (Examensarbete)
    Abstract [en]

    We live in a world constructed by predeterminations, divided by gender. It’s a masquerade that we’re all taking part in, men by their gaze and women by embodying it. I’ve investigated spaces where feminine attributes are interconnected to a female body, and aspects that shape the misleading mask. In my research I discovered that there are three areas where a woman and female attributes are merged: In media where the stereotype image of a woman is confirmed in glossy magazines and in reality shows. In the bathroom, a room that represents the starting point of the masquerade. And last in typical feminine rooms, beauty salons, where make-up and nail polish is applied to female bodies. By researching spaces I discovered that bodies are shaped by the exclusion of the other sex and by gender specific norms.

    Out from my own bodily perception I have investigated the feminine surface in the borderland between corpus and jewellery. In my process I shifted the perspective by creating wearable pieces that illustrate the undressing of femininity and by dressing traditionally masculine corpus in feminine materials. All together the objects make up a burlesque staging of a feminine scenography. It’s first when an object loses its initial function that we can create new reference points. It’s when lipstick is casted in the shape of soap and when a high heel is separated from the shoe that they become disconnected from the female body. 

  • 72.
    Grohp, Caroline
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Hyllning till kärleken2002Självständigt arbete på avancerad nivå (magisterexamen), 20 poäng / 30 hpStudentuppsats (Examensarbete)
  • 73.
    Grohp, Caroline
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    WED: smycken inspirerade av graffitikonst2000Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 74.
    Gräns, Karin
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Sinnliga instrument: rapport till magisterarbete2001Självständigt arbete på avancerad nivå (magisterexamen), 20 poäng / 30 hpStudentuppsats (Examensarbete)
  • 75.
    Gudeta Laantee, Rudite
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Kronan som symbol för årstiderna1996Självständigt arbete på avancerad nivå (magisterexamen), 20 poäng / 30 hpStudentuppsats (Examensarbete)
  • 76.
    Gustafsson, Pär
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Projekt Metalltrappa1998Självständigt arbete på avancerad nivå (magisterexamen), 20 poäng / 30 hpStudentuppsats (Examensarbete)
  • 77.
    Hagvil, Annie
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    The Weight of Nature2012Självständigt arbete på grundnivå (kandidatexamen), 5 poäng / 7,5 hpStudentuppsats (Examensarbete)
    Abstract [en]

    There is an expression called ”grief of climate” that refers to feelings of powerlessness and heaviness related to the environmental problems of today. A feeling that every move we make has bad consequences for nature. This essay is an investigation of how art in general and jewellery art in particular can be a way of discussing and visualizing current environmental problems and the complex relationship between human and nature. I am discussing how artworks dealing with a dark and dystopian picture of the relation can be seen as the memento mori of our time. A reminder of nature perishing as a consequence of our behavior. A reminder ultimately talking about our human mortality, our position of power and whether we are to blame for the situation.

    Memento mori is a genre within art with a long tradition. Historically the latin phrase meaning ‘remember death’ has been dealing with the human fear of death and the desire for immortality. Today there is an increasing understanding of our coexistence with nature and our fear of death has in a way broadened to include even nonhuman creatures and nature.

    My investigation deals with the possibilities of creating an imaginary picture of reality with object related to the body. As jewellery is interpreted in connection with the human body it has a unique ability to tell stories about humans as individuals but also humanity in a broader sense. As a conclusion the tradition of memento mori jewellery has a potential to further develop within a contemporary context and discuss the distorted relationship between human and nature.

    The work consist of one theoretical and one practical part.

  • 78.
    Hakim Bercovich, Dana
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    The fear society: deisign for safety2010Självständigt arbete på avancerad nivå (masterexamen), 20 poäng / 30 hpStudentuppsats (Examensarbete)
    Abstract [en]

    Creating an environment that is both physically and psychologically safe is one of the biggest challenges of the 21st century. Our contemporary society have become to be known as the “fear society”, in which fear and anxiety occupies a growing part from our lives then ever been seen before, we fear from the “other”, fear from epidemics, fear from godless, fear from crime and terrorism etc. Not every fear is common to all, while some fears are built in and are universal, others are the result of the culture that we live in and exist in a specific region or time. Another important difference to mention is between the private fear and the political one.The political fear is emerging from the society or have implications on the society while the private fear is concerning the person that is experiencing the fear. It is easier to control and lead a group that is shearing the same fears.Those in society who inform us must be committed to maintaining a perspective based on realistic assessments of risk, rather than an agenda based on politics or profit. My investigation of fear stretched from the human relations to the living environment, our urban planning and houses ,to our everyday surrounding and products . I was looking for the connection between our fears and the products that being design and invente and study the field of design for safety. As the city, the urban spaces became a center of violence in the last decades, the discussions on the connection between the urban environment and planing to prevent violence started in the 20th century in their physical context, behavioural context and processive context. To began with the theory Defensible Space in 1972, with an emphasis on the natural surveillance, territorial concerns and access control in the neighbourhood, to the “Broken Windows” theory which argues that vandalism and negligent in the city can encourage the “violation” of other norms of behaviour. And from the urban environment and the secure space of the private home to the use of product that surround us in our everyday lives, indoors and out. There I have found designers that give us practical solution for future safety and others that are offering us objects that will help us feel secure. Unfortunately, it is still not possible to protect us from all kind of crime or criminal.The good news is that design can help in making us feel secure and keeping us safe in mind. We definitely need the illusion of safety, so that we can live in a healthy way

  • 79.
    Hallqvist, Åsa
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Ornamentik: en konst som förhöjer tingens skönhet1995Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 80.
    Hallqvist, Åsa
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Spiralformer i halssmycken av hår och metall1997Självständigt arbete på avancerad nivå (magisterexamen), 20 poäng / 30 hpStudentuppsats (Examensarbete)
  • 81.
    Hallström, Jan
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Genombrytningar och ytstrukturer1997Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 82.
    Hammarberg, Sofia
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    DO NOT COVER: Störst av allt är feelingen. Om att frigöra sig från skam genom Corpus/Jewellery.2016Självständigt arbete på grundnivå (kandidatexamen), 5 poäng / 7,5 hpStudentuppsats (Examensarbete)
    Abstract [en]

    Some things you cant touch, see or grab. But they are there. Always and everywhere. Silently invading every part of you, your everyday life and the things in it. The less you speak of it the more you have it. The more you have it the less you want and can address it. Shame is not logic, it is not the brain reacting, hardly our conscience, it's the body. It is truly and fully a physical feeling.

    For the first time I give myself permission to dig into all of these materials, I indulge in the styles and tastes that I've long felt forbidden for me. I wont be limited in my choices of symbols, coloration or aesthetics in ways that good taste and patriarchal structures have taught me to be. I am letting that guard down and diving in, using it in advantage for my work and my theme. I feast on fake pearls, glitter, shells and plastics. I turn towards what is considered shameful or bad taste and work with it, embrace it and elevate it. Not to show that is the new "right" but to justify for all of the times that I have turned away from it because of shame.

    To be a person with feelings of shame is to be a person that automatically will try to turn from itself. Shame is intimately entwined with femininity, it is silently inherited from generation to generation. It is experienced only by some bodies and not others. It is not being able to see your own value. It is the loneliest feeling in the world, but really a marker for something much bigger and deeper than one individual.

    It is materialized everywhere around us.

    It is not me, but it is not not me.

  • 83.
    Hamrin, Charlotta
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Smycken för slipsen2001Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 84.
    Hamrin, Charlotta
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Stillhet2004Självständigt arbete på avancerad nivå (magisterexamen), 20 poäng / 30 hpStudentuppsats (Examensarbete)
  • 85.
    Hansen, Emma
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Skin Hunger: impact of touch2018Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 86.
    Healy, Pierce
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    The Clown Jewels2012Självständigt arbete på avancerad nivå (masterexamen), 20 poäng / 30 hpStudentuppsats (Examensarbete)
    Abstract [en]

    Humour and irony are strategies for survival. The social world and the paradoxes of our life are so heavy there is a danger of becoming crazy. I am a child of Dadaism, which is also a strategy against craziness. (Bernabei, 2011:196)

     

     

    I subscribe to Jewellery artist, Bernhard Schobinger’s mantra. Humour is unequivocally important and particularly within the context of contemporary jewellery and corpus. When has smiling or laughing ever felt bad? As a communication device, humour is possibly the most instantaneous. Danish humourist Victor Borge (1909-2000) emphasized this succinctly when he defined humour as the shortest distance between two people.

    Adornment and jewellery hail from pre-civilization, as does humour. Hence the pairing of humour with the most intimate applied art form of jewellery is an obvious match. I believe it makes perfect sense to harness humour as an artistic attribute for better communication of an idea or message.

     

    Research indicates that the major reason we laugh is because jokes contain truths. In his book Jokes and Their Relation to the Unconscious (1960), Sigmund Freud deduced that the jokes we tell reveal our unconscious fears and desires.

    Despite not holding all the answers, humour in art and in particular, contemporary jewellery, is serious business.

     

    Throughout this essay I will explore the everyday and will use a random happening I witnessed in Stockholm to generate some discussion, as it encompasses ready-mades, the everyday and humour. I will also explore the evolution of humour in society and in the realm of contemporary jewellery in conjunction with ready-mades.

     

     

    Humour, anti-seriousness, mockery of all values of a bourgeois society, were central to the basic tenets of Dadaism. Marcel Duchamp sought to bring the everyday back to art. He wanted, ‘to put art back in the service of the mind.’

    Ready-mades were used as a device within the Dada movement, in opposition to what had come before. What started as a consequence of Duchamp’s rejection of art and his suspicion that life was a melancholy joke, a tongue in cheek statement, has become the vehicle of choice for many contemporary artists.

     

    This essay is a celebration and continuum of that idea. I believe that through observations of the everyday along with the utilization of ready-mades within contemporary jewellery, humour is born. I propose that by harnessing ready-mades, not as a concept but as a tool, in contemporary jewellery, a new humour laden vocabulary emerges to uncover the everyday. The benefits of humour are multifold, ultimately facilitating effective communication with a wider audience, beyond the contemporary jewellery milieu or as Ted Noten calls them, ”the stylized gravediggers of the art world”. In short, I strongly believe that the proliferation of humour within the field of contemporary jewellery and corpus should be taken seriously.

  • 87.
    Hedman, Daniela
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Andlig konst?2008Självständigt arbete på avancerad nivå (masterexamen), 20 poäng / 30 hpStudentuppsats (Examensarbete)
    Abstract [sv]

    Vad är andlighet? Många av oss blandar ihop andligheten med religion, men det är viktigt att skilja på andlighet och religion. Religion är något som vi får lära oss från andra medan andlighet är någonting vi finner djupt inom oss själva.Andlighet hos en människa är ett bejakande av själen. Andlighet är ett uttryck för den del av oss människor som inte har någon fysisk form. I mitt arbete behandlar jag temat andlighet utifrån en personlig utgångspunkt där jag, som människa mellan andligt och jordligt, hyllar min plats i den sistnämnda. För mig är ofta den fysiska och materiella upplevelsen en förutsättning för just den andliga upplevelsen. Ingen utesluter den andra men för mig är perspektivet på andlighet omvänt. En av uppgifterna i mitt magisterarbete blev således att lyckas förmedla andlighet genom just en materiell skapelse. Jag blev tvungen att ställa mig frågor om detta överhuvudtaget är möjligt? Andlighet är ju på många sätt motsatsen till att bli materialiserad.

  • 88.
    Hedman, Hanna
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Missnöjda kroppar2005Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 89.
    Hedman, Hanna
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    What seemed to be the end: grief and mourning in western society2010Självständigt arbete på avancerad nivå (magisterexamen), 20 poäng / 30 hpStudentuppsats (Examensarbete)
  • 90.
    Hellqvist, Sofia
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Varandets villkor: att knäppa sina spretande händer och åstadkomma en förtätning, åtskillnader blir sammanflätningar, tudelningar blir tvetydighet2010Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
    Abstract [en]

    Descartes sharp distinction between body and mind has had a severe influence on the culture of the western world. We now have a constructed system of knowledge that discards perception asunreliable and instead admits only deduction as the adequate method of understanding oursurroundings and ourselves.But what are we, if not human?And what would our lives be like without our dreams, the passions of our hearts and the sensationsof our sense organs?Irrational as it all may seem, these aspects form our existence, giving us pleasure, experience andknowledge beyond what we plan or try to predict. It is the fuel that keeps us going, fighting, loving.So how come we seek to explain everything? How come we seek the approval of others in matters we should be confident enough to judgeourselves? Why can't we embrace all the aspects of what it means to be alive? I state that the society and culture of the western world offers great possibilities for expression andcommunication. I see these matters as deeply rooted in our nature and history. But the world oftoday also tends to disrupt and distort the private areas of our lives. These are the areas where weneed to feel safe, where we should maintain our lives in order to be able to distinguish ourselves as individuals and take part in the public realm. There is no balance nor line between these two anymore, and in this text I explore possible reasons for this situation and some possible ways to restore and renew the value within the realms of our lives.

  • 91.
    Helmerius, Stina
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Allmoge -: tradition och inspiration2006Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 92.
    Hertov, Vidar
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Övervakning: hur ser vi på saker när dom ser på oss?2004Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 93.
    Hurtigkarl, Sarah
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Tilstanden: tanker omkring flow, skabelsesprocessens sindstilstand og leg2010Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
    Abstract [da]

    Jeg har i denne opgave betragtet og foretaget en undersøgelse af sindstilstanden hos den skabende kunstner. Opgavens fokus er at definere og beskrive denne tilstand hovedsaligt ud fra Mihaly Csikzentmihalyi’s teori omkring flow.Herudover stiller opgaven skabelsessinds tilstanden overfor legens tilstand og undersøger hvad der adskiller dem og hvad de har tilfælles. I begge tilstande vil fokus ligge på oplevelsen af tilstanden og i min undersøgelse er udgangspunktet barnet og den skabende kunstner.Opgavens problemstilling relaterer sig til mit arbejde både som inspirationskilde og som selve kernen, der gør det muligt for mig at komme ind i min verden. Det har været vigtigt for mig at undersøge dette teoretisk.Mit eksamens arbejde og tilstanden har mange ligheder. De har begge potentialet til at forvandle virkeligheden og åbne op til en anden verden. Deres ønske er at sende sindet på en indre rejse og at finde en uudforsket virkelighed.

  • 94.
    Huusko Källman, Rebecka
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Social participation in contemporary art jewellery: An investigation of contemporary art jewellery’s ability to discuss complex questions within western society.2014Självständigt arbete på avancerad nivå (masterexamen), 5 poäng / 7,5 hpStudentuppsats (Examensarbete)
    Abstract [en]

    On the base of cultural norms, it seems that it is commonly accepted that one animal is considered 'friend', while the other 'food'. Even though people's opinion may differ in regards to the world's largest animal rights organization PETA (People for the Ethical Treatment of Animal) (Kulkarni, 2009), the organization asks a relevant question: “ If your cat tasted like chicken would you eat her?”

    As I work within the contemporary art jewellery field, it is through the body, jewellery, and the conscious act of wearing it, that I would like to encourage consumers to reflect on their personal meat consumption and to connect the packaged meat to the animal it comes from: what is it that we are eating? Where does it come from? Through this essay and my work/practice, I aim to critically reflect on the different existing values between animals in our society and to inspire more conscious and well informed decisions concerning meat.

    This essay is a research project prior to my practical exam work at the Jewellery + Corpus Master program at Konstfack and will serve as a basis for my artistic exam work. Against this background, I look at relevant literature and case studies representative of the field of contemporary art jewellery, in order to research/address the following question in this essay:

    -          Is it possible to discuss complex questions within society though the media of contemporary art jewellery? 

    Within the field, opinions differ between art historians as well as makers; it seems that the framework of contemporary art jewellery provides the medium, on one side, with great potential to speak of issues within society, although, on the other side, the same frame work commonly hinders the medium’s ability to reach out to the general public, in order to generate a wider discussion. 

  • 95.
    Hyunjung, Cho
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    The body of the embodied body2011Självständigt arbete på avancerad nivå (masterexamen), 20 poäng / 30 hpStudentuppsats (Examensarbete)
    Abstract [en]

    By questioning the feeling of uneasiness coming from seeing the real body, I aim to cast a light upon the relation between the body and the objects that are displayed on it. Starting with a doubt that the object would not only change the surface of human, I investigate how the body of human totally embodies its representational object to itself.

  • 96.
    Hägg, Karolina
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Drömmar: drömmen som inspiration och utgångspunkt för ett konstnärligt arbete2011Självständigt arbete på avancerad nivå (masterexamen), 5 poäng / 7,5 hpStudentuppsats (Examensarbete)
    Abstract [en]

    The theme of my exam project, the practical work and the essay will be the phenomena of dreams. The dreams you have when you are asleep, the dreaming state of mind, places where your mind takes you, when you no longer decide what to think of. It is a fascination about what our mind creates itself. This essay brings up the theme out from seeing the dreams and the unconsciousness as a source of inspiration, both in personal development and from an artistic point of view. How has the world of dreams bin used as inspiration in the art?

  • 97.
    Hägg, Karolina
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    The Cocktaail effect: As soon as it ripens it rots2013Självständigt arbete på avancerad nivå (masterexamen), 20 poäng / 30 hpStudentuppsats (Examensarbete)
    Abstract [en]

    This essay will explain some of the key concepts of my theoretical interests of my artistic practice.

    “The cocktail effect” is a work where I use corpus and a table setting as basis for my investigation into the ambivalence I experience in the food culture of today. It is an investigation into all chemicals found in food, how they affect our bodies, and into the relation between the two and the field of corpus and craft.

     

    The work consists of a table, a chair and a setting on the table. The table setting is the central point of my work, together with the different objects and corpus pieces that constitute it. The objects and their materials are a part of the investigation and my media to bring forth the questions and concerns I have about today´s food culture. In the essay I explain the different material choices, what they for me symbolize and what kind of culture the material already has. I also explain the concept of using a table setting to tell my story and how my work relates to the field of corpus and the time we live in.

     

    I have looked at ongoing discussions concerning foods, trends happening within the field, studies that describe the effect that chemicals have on our bodies and also documentations that describes the processing of food. I have transformed this information and material into a table setting, which talks about the ignorance and the ambivalence that exists in our food culture and highlights facts that are kept hidden from us.

    In my work and in my essay I describe and investigate how I can use the field of corpus to tell the story of our everyday food culture.

  • 98.
    Hällzon, Catarina
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    A philosophy of flow: with an attitude of acceptance, or2006Självständigt arbete på avancerad nivå (magisterexamen), 20 poäng / 30 hpStudentuppsats (Examensarbete)
    Abstract [sv]

    Min undersökning är en filosofisk resa där jag fritt funderar över, under och i min process. Jag använder mig av en naturvetenskaplig terminologi för att ge det konstnärliga resonemanget en grund för ett annat tänkande. Det är ett filosofiskt tänkande kring min konstform i förhållande till min världsbild, ett slags kosmiskt förhållningssätt. Min undersökning tittar inte på den andliga konstnärliga traditionen, jag tittar inte heller på konsten som ett konkret läsbart objekt. Jag undersöker tomheten, inte som ett religiöst fenomen utan som ett naturvetenskapligt/filosofiskt fenomen. Jag undersöker om konstnärliga processer går att åskådliggöras med naturvetenskapliga medel. Kan man använda sig av matematiska formler för att åskådliggöra konstnärliga processer? Kan man problematisera vetenskapen genom att göra formler för ett konstnärligt tänkande och vad gör en formel för konstens frihet?

  • 99.
    Hällzon, Catarina
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Kroppens relation till smycket2004Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 100.
    Jagare, Kajsa
    Konstfack, Institutionen för Design, Konsthantverk och Konst (DKK), Ädellab/Metallformgivning.
    Attached function2002Självständigt arbete på avancerad nivå (magisterexamen), 20 poäng / 30 hpStudentuppsats (Examensarbete)
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