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  • 1.
    Ahlsén, Emely
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Konst som kommunikation?2005Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 2.
    Ahlsén, Emely
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Open spaces - blank pages2008Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    I stand in front of the remnants of a building. Braces and beams create a silhouette against the sky. The walls and roof are missing, but the windows remain, and the sheet metal doors. The structure frames the emptiness. This former building became a metaphor for man. Vulnerable in the face of a sudden turn of events, we lack protection against the world around us. Only our skeleton, muscles and naked skin hold us together. And just as eyes are said to reflect the soul, the leftover windows provide a hint of the former building’s life. The windows became the key to this building’s history. We are dependent on our buildings, just as the buildings are dependent upon us. In times of change, our social structures support us. Our life cycles are the course of events that allow us to move on, change, and be unique. Marks are left with the passage of time. Facades can be open, opened, forced, closed, covered, empty, or ready to be filled. Facades can be the time that passes. We are facades in transition, but stable in our foundations.Nothing is really alive until there is something missing, and the opportunity to place ourselves into a context arises. And in that aspect, the emptiness following the fall of the Twin Towers is therefore more telling than the buildings themselves.Everything we see in a building tells a story. In this essay, the story of Berlin’s House of Parliament is told. I reflect on how man mirrors his present in a building that is in a process of transition and how we are forced to confront ourselves with its history. I consider how a new dimension is created when something is opened, handing over the inside to reveal its past. How time can alter a symbol’s meaning. Today the dome on the House of Parliament represents democracy, as opposed to one hundred years ago, when it stood for power.Facades are in constant change.Does a facade need to be affected by transformation, deconstruction and destruction so that we can understand its whole, or are there other ways to penetrate its surface? Is the structure’s ability to evolve andadapt that which fascinates us and allows us to see its possibilities?Both man and building need “change” in order to illustrate their past and interpret their present. This is most apparent in the moment that the "facade cracks". In the vacuum that is created, it becomes obvious that the present is not forever. To exist in the present, is to be in a state of change.

  • 3.
    Alstorp, Paulina
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Ensam är stark!?2014Independent thesis Basic level (degree of Bachelor), 5 credits / 7,5 HE creditsStudent thesis
    Abstract [en]

    I am interested in humans, bodies, movements, directions and how they affect each other. How we move towards each other or away from each other, inside a home or outside. How we relate to each other and to what people say and do. Co-operations between people that occasionally, possibly, do not work; how certain relationships, like certain materials, can have various breaking-points; that materials can be laden with numerous preconceptions, for instance what they should be used for.

    Beginning from the perspective of a feminist commune, I have explored the concepts of family, belonging, and loneliness. I have interviewed, observed, photographed, and through living in the commune during shorter periods of time, I have taken part in their every-day life. Through this investigation I have become more aware of my view on loneliness and belonging, regarding both myself and others. Can we as humans stand alone, or is interdependence necessary to reach our full potential? Can we experience loneliness in spite of co-existence? And can we feel togetherness in our loneliness?

    I have created objects in which I hope the observer can recognise themselves, in the emotions I wish to communicate. It may be about shame; shame for not fitting in; not belonging; a nagging sensation that you are not “right”. It may be the dark side which can arise through togetherness; like being situated in an environment where you are surrounded by people but still do not feel you belong; but also the feeling of release that a self-imposed seclusion can give. Through my jewellery I want to show that the way in which something or someone is decorated can raise standards, values and preconceived ideas.

  • 4.
    Anderssen Sibthorp, Kari
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Ledade smycken med inspiration av tekniska detaljer2000Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 5.
    Andersson, Annmari
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Agilitybana för turbinens hundrastfält: funktionell offentlig utsmyckning2004Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
  • 6.
    Andersson, Annmari
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Produktformgivning: en smyckekollektion2002Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 7.
    Andersson, David
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Berlock: [-åkk']s,-en-er : nipper att hänga i kedja2001Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 8.
    Andersson, Helena
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Objekt att fylla efter behag1998Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 9.
    Andersson, Helena
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    På andra sidan jordklotet hittade jag inspiration!2000Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
  • 10.
    Andersson, Maya
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Identitet2003Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 11.
    Atterling, Anna
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Organiska former för handen1998Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 12.
    Atterling, Anna
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Ornament som form, form som ornament2000Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
  • 13.
    Babrak, Kamran
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Alternate Perception of Objects2014Independent thesis Advanced level (degree of Master (Two Years)), 80 credits / 120 HE creditsStudent thesis
    Abstract [en]

    Humans are surrounded by objects. The human-object interaction is more frequent than the human-human interaction. The history of objects is as old as the history of human beings. This fact establishes and defines their meanings in a social and cultural context.

    This essay aims to look at the established meanings of corpus objects and possibilities of developing new meanings of tableware and other objects related to table in contemporary craft. To investigate if the perception of the object changes with the change of material or its formal aesthetics. How can the meanings of the objects and their identities be altered  or substituted? Do we recognize the objects the same way if their form and function is altered? What role does material play in how one reads an object?

    This essay looks at the importance of objects and the role they play in our daily life. To explore what lies in an object beyond its function and the notion of materiality, what can be the boundaries and limitations of our perception, understanding and tradition of objects? 

  • 14.
    Backéus, Sofia
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    En herrgårdssägen: fem smycken : uppsats om mitt arbete med Selma Lagerlöfs roman En herrgårdssägen1997Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 15.
    Backéus, Sofia
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Hålla hav, hälla öken1999Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
  • 16.
    Berggren, Caroline
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Etagere: ett etagefat i silver och glas2000Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 17.
    Bergman, Linnea
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Och platserna reser sig2014Independent thesis Basic level (degree of Bachelor), 5 credits / 7,5 HE creditsStudent thesis
  • 18.
    Bernhardt, Anne-Marie
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Figurer som nästen ligner noget2000Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
  • 19.
    Bernhardt, Anne-Marie
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Opera, det er, når man stikker kniven i nogen og der kommer sang istedet for blod: tre smykker inspirerede af operamusik1998Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 20.
    Birgersson, Tobias
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Gömd skatt1998Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 21.
    Birgersson, Tobias
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Téceremoni: fikapaus2001Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
  • 22.
    Bjernér, Titti
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    En för alla: en kollektion kläder och accessoarer för dom tre heliga konungarna2002Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 23.
    Björke, Lisa
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    To create with the imagination: in search for flow2010Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    Our world is filled with creativity; it is a part of everyday life for all humans. All products and artefacts in the public realm and in our private space come from creativity. Some are created to satisfy a certain need in the society and others are created to please the artist creating it. There are thousands of other reasons why we have a need to create.

    Creativity would not exist without the imagination and both are crucial to humans and the development of society.

    The imagination is endless; it can take you back and forth in time letting you travel to inexistent places,so that you can create an utopia for yourself. Imagination is crucial in a creative process: without it, the creatvive process would be somehow crippled. Through imagination we are able to see the goal ahead.

    On one hand working with creativity is frustrating, since it is a constant search for solutions and new ideas. On the other hand it is very rewarding: the moment one finds answers, starts the work and finally comes into a state of flow, creative work suddenly is worth the frustration. The search for flow through challenging tasks is a way to improve the quality of both your artistic life and your life in general, and it is open to anyone who sees the point of the struggle.

    In this essay I want to research the world of imagination and creativity: what do we use it for and why do we need it, how come it is so necessary? A creative process can be everything from frustration to complete satisfaction, such as a state of ecstatic flow.

  • 24.
    Björkman, Sofia
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Ett projekt med ängskyrkan: dop och dopfunt1996Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 25.
    Björkman, Sofia
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Föremål: hur vi uppfattar och ser på föremål1998Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
  • 26.
    Bornhall, Marie-Helen
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Projektarbete "Kummelby kyrka"1995Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 27.
    Brandt, Henrik
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Smycken / objekt och uppstoppade djur2001Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
  • 28.
    Brovia, Beatrice
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    On initiation: eulogy of the closed door, of the amputation and the cut off2009Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
  • 29.
    Burchardt, Roberta
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Narratives of corporality: a small personal collection2010Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    There is great truth to be found in the thought that whatever I do today, will never come close to what I will do tomorrow. It is within the simplicity of such thought that we foresee the build-up of the being through the body and experiences lived by the body.

    The present work is an attempt at sharing a personal research over the topic of the body through a contemporary perspective. The body as performatic tool for the understanding and interconnection of art and life is the prerogative for the dialogue proposed here.

    Through the study of some writers and artists, a personal language comes forward and presents a text to be read fully or partially: as a whole or as fragments.

  • 30.
    Bäccman, Malin
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Havet2003Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 31.
    Bäccman, Malin
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Vem är normal?2006Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    My project is about attitudes towards disabled people, about our fear for those who are different, about acceptance, ideals and normality.My inspiration has been prosthesis, and mostly people that are born without limbs. Through my research I have come across a lot of questions. Such as, why is a prosthesis so important and for whom? Why is it so important to be normal? What is normal and for who? People that are born different se upon themselves as normal, until they realize that others don’t. Many of them want to learn how to deal with life without prosthesis. And therefore they reject these. Sometimes the prosthesis is aids that are highly necessary. But they are also a way to blend in. When someone get severely ill or are born with a defect the society want to rehabilitate this person at any price. The goal is not to make the disability to something that you accept but something you should cure. This is of course necessary in some cases and I believe that we do this with the best of intentions. But sometimes we do this because we don’t believe in being different and the strive to be the “ideal-human being” is an obsession for us. The “ideal- human being” that nobody ever can be and especially not those with a disability. What is normal has change from different epochs and are different in different cultures. We learn what is normal and not normal, what are acceptable and about values so we can survive in our society. It is a social construction and it is safe. This safety can be a problem when it comes to be able to understand and accept that there are people that look, think and acts in a different way. It can be a seed for prejudices.During this project I realized that this is not only about visible disability. It is about hidden disability and that concern all of us.I believe that we all have some kind of disability. It is a matter of definition. We have to learn how to live with, accept and appreciate what is ugly, odd, unpleasant and unique. It is about values and to reassess.

  • 32.
    Castiajo, Carla
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Martyrs: heroes in paradise2006Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
  • 33.
    Castro, Miriam
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Facts on human being & being human2009Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
  • 34.
    Chamoun, Georges
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Habitus - ett arbete om klass2013Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

     

    Why is it that we still live in a society where an individual's social background plays such a big part in their chances of reaching a higher education? Despite the numerous educational policy reforms, especially in Sweden, it still seems that an individual's career choices are pretty much related to what kind of social class they grew up in.

     

    Sociologist Pierre Bourdieu claimed that social class is reproduced in the school system, and that students from the lower classes are much less likely to reach a further education than students from the middle or upper classes due to injustice in the school system.

     

    One thing that plays a big part in this "Catch-22" situation is the concept that Bourdieu calls habitus. Habitus could be explained as an individual's taste, knowledge, ability to master the spoken language, etc. Your habitus is manifested in the choices you make, the music you listen to, how you dress and the way you speak, and it determines your relation to the education system and life in general.

     

    As part of my essay, I wanted to interview students from lower or working class at my school, Konstfack, to see if they have had any negative or positive experiences from their encounter with a higher education. And if so, could they be linked directly to their social background?

     

    As a reaction to my own and my interviewees’ experiences and frustration, I use the concept of habitus in my practical work. Playing with class stereotypes, I load my wearable objects with different kinds of constructed "working class habitus". In placing these objects on a stereotypical image of the upper classes - those who are the most privileged in society and the school system - an interesting juxtaposition occurs between the wearer and the object.

     

    What happens when you are forced to experience a habitus that is not yours?

  • 35.
    Cheng, Nicolas
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    The beauty of nothingness2010Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    If I relate beauty to nothingness, what happens? Is nothingness sort of an absence of beauty? Or it is portrayed by our culture and society, and, in such case, can I define this absence of beauty? Is it beauty that you cannot even catch? Is its appearance neutral, almost hidden?

    When we are born, we all have the same degree of beauty and purity, which is progressively lost as long as we start growing up. In a life span, we accumulate wrinkles, and defects and dirt which needs to be concealed in order to fit in certain social categories. But our bodies register all the marks, absorb all the signs and impurities, likewise filters.

    We don’t necessarly perceive our own dirt or impurities as disgusting, whereas, in the clash with the other, we automatically are ahsamed of it. Same way, we tend to regard the other’s dirt as disgusting, not our own, very private dirt.

    Dirt is matter out of place, so is ugliness. The stain must be cleansed, purified as it represents a threaten for beauty. It is subtracting clean space to beauty. We are part of a society that intimates us to clean up, shape up, hide your -very human- dirt under the carpet. But beauty, nor humanity, would not exist without that dirt. We do absorb impurities all life long. And that is what makes us what we ultimately are: humans. Dirt paradoxically works as a protection: the dirtier we are, the less afraid of getting dirty we will be.

    In the society we live in exist many difficulties when it comes to find an identity as humans and a position in it. We are often put in a situation of having to follow: a certain career, a living style, an ideology, somebody’s else opinion, what to consume, school systems. Etcetera.

    In such a society, and because of this “follower-like”, passive position, where we mostly have to repeat the same living patterns, it got harder and harder to retrieve the meaning of things and to understand where we come from. Who we really are. We tend to put on uniforms or masks to fit in different standardazied situations. Everything and everybody has to fit in its or his standard place. This way our intrinsic human beauty is concealed and somehow controlled.

    With my essai, I try to look under the carpet, undress, unmask and reach a new definition of beauty: a naked beauty, not concealed nor camouflaged. The beauty we all deeply share, unpretentious and honest. A beauty of nothingness: something I see or feel, but about which I keep wondering whether it is or it is not beauty.

    To develop such new definition of beauty, I recollect ideas and concepts of beauty from the past, with a main reference to western society: from beauty models in the ancient Greece, Apollonian VS Dionysian, to the Sublime, untill the present time. I try to define what purpose and non-purpose beauty is. What is ugliness and dirt and how they both are a prerequisites of beauty. I finally take a more personal look upon contemporary society and how its mechanisms define a beauty which is standard. It is starting from a reflexion about standard society and beauty, that I then define a more intrinsic human beauty. Such unevokable sensation of beauty is extremely subtle, hard to acknowledge: one needs to train ones eyes and go beyond the layers, to discover the beauty of nothingness.

  • 36.
    Cho, Young geum
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Performing Shell: The relationship between surface and substance2012Independent thesis Advanced level (degree of Master (Two Years)), 80 credits / 120 HE creditsStudent thesis
    Abstract [en]

    Through my study and observation of American jewelry house Tiffany, I could notice how the iconic

    little blue box contains not only jewellery but also the brand’s myth. The function of the Tiffany box, goes beyond what we normally associate with packaging as wrapping of a product. Therefore, I question what is the function of packaging in commercial culture.

    Tiffany’s little blue box not only is the container of jewellery but also of the whole Tiffany brand identity and myth. This brand’s myth is basically illusion. It legitimizes the story by itself. It’s the wholeness. It does not bring up any question, instead, we enjoy the fantasy it generates. To achieve one’s dreams of beauty, self-distinction and love, seems more possible by buying a piece of the brand’s myth.

    Visual language is commonly used to communicate a myth, since the sensual and artistic language

    is a persuasive tool when narrating desires and dreams. In this sense, Cindy Sherman’s collaboration with Mac and Marc Jacobs is a good example, which broadens the idea of the so-called ‘aestheticization in commercial culture’.

    The visual expression of brand myth, was displayed and it has developed into package in the present days. Nowadays, customers are "educated" by commercials to perceive the package as the symbol of brand myth. Packaging is regarded as being as significant as the actual substance of commercial products. Even more so, packaging has become more significant than the actual content. It is more important for brand companies that their customers remember where the product is from, than what it actually is.

    Since brand packaging has a strong connection with brand jewelleries, the shape of packaging is used as a symbolic language. Norman Weber’s work,

    ‘jewellery houses’, represents, in this sense, an evident example. Moreover, packaging and jewellery shapes have been used as a symbol of commercial culture; an example of this is evident in Jeff Koons’ works ‘blue diamond’ and ‘hanging heart’.

    Based on this notion, I combine jewellery and packaging in my work in order to make my own statement about the relationship between packaging and jewellery in commercial culture. I previously stated that packaging related to brand myth, has been growing to the extent that it became more relevant than the actual content in the context of commercial jewellery culture.

    With my artistic statement about packaging, I am at shaping a critical discussion on the overwhelming illusion of consumption related to brand myth in commercial culture.

    Keyword:

    Commercial culture, Aestheticization, Tiffany, Brand fantasy, Visual language, Packaging,

    identity, Alienation

  • 37.
    Christensson, Elin
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Bilen och människan: passion och främlingskap2004Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 38.
    Copparstad, Åsa
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Åldrandet: En resa i tid och rum2015Independent thesis Basic level (degree of Bachelor), 5 credits / 7,5 HE creditsStudent thesis
    Abstract [en]

    Abstract

    Aging - a journey thru time and space.

    To be a human being is to age. Time is the the dimension that makes us experience aging. We count the time with instruments that we attach to our bodies and in the space that we inhibit. We all have to live with the reality of death. We make strategies for how to postpone it. To be healthy and young is what we all want. That is what media tells us. To get old is something we try to avoid. We want to be young all our life. Old people are marginalized in our society. The stigma about the elderly is profound. We have to work against the ageism and look at eachother as individual human beings, not as representations of a cetrain age. Aging is the base of my research, the physical and psychological transformations that are happening over a lifetime. The cells in our bodies are set on a clock, they can not get reproduced forever.

    Time is the foundation of our history and our future. Time is what makes us old and young. In modern society we have organised the human beings in different age categories. You share the history events with your cohorts, but that doesn ́t say anything about you as a person or that you are alike. I think that is a big misstake. In our dreams we can be any age and any place. Sleep makes up a third of our life and it is the only time spent unaware of time. I wish that age was something we didn ́t use as a discriminating tool but unfortunately it is and also the most common one. I want to give a medal to those who doesn ́t give in to ageism.

    I have created a series of jewelry and corpus that I hope will inbody some questions about aging and ageism that I think we need to be aware of. 

  • 39.
    Dahlberg, Jan
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Det organiska förhållandet1997Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
  • 40.
    Dahlberg, Jan
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Skål!: etsning, drivning och cicelering i järnplåt1995Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 41.
    Dalunde, Tilda
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Minnen från en parallell framtid2014Independent thesis Basic level (degree of Bachelor), 5 credits / 7,5 HE creditsStudent thesis
    Abstract [en]

    We live in a fragile everyday. We make it even more fragile by the way we live it. There is no point in saying it with words any more, I've already tried that so many times that people have stopped listening. Maybe objects are a better way to start a conversation. In this project, that consists of this thesis and the physical body of work "Memories from a parallel future", I've been investigating what happens to us when the everyday falls apart and chaos erupts. With a starting point in the climate-crisis of the year 536, that led to the death of almost half of the Norse population, I've been speculating what would have happened today. Or maybe that it is actually happening today. Depletion of resources always results in violence. We know this, but still we keep nibbling at the earth, a little chunk at a time. What do we plan to do when there is nothing left? 

  • 42.
    de Blanche, Emille
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Gray areas: an exploration of metalwork in a contemporary context2011Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    Ever since art and craft was separated there has been an ongoing schism between the two. The craft movement has been showed out of the fine art galleries and museums and has been left with country fairs and second handed rated galleries for exhibiting their work. This has created insecurity within the realm of craft. Left artists doubting themselves and the importance of their work and has led to an immensely boring debate which, for the past hundred years has debated whether craft and fine arts could or should be regarded as equal artistic manifestations. Maybe the importance no longer lies in trying to manically copy the fine art scene. But for once and for all, claim the space our work deserves in a contemporary environment, far away from rigid artistic boarders and a language that lacks all the right words. This essay investigates what it means to work in the periphery, in the gray areas of contemporary artistic metal making today and why the view on work in craft media is looked upon as handicraft and not art.

  • 43.
    Dorph-Jensson, Sidsel
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Ask, burk eller flask2001Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 44.
    Edlund, Jenny
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Plong: smycken som produktidé2000Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 45.
    Ek, Jon
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    I AM WHAT AM I: An essay about ambivalence as a part of the creative process2013Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    The aim of this paper is to explore how ambivalence can take the creative process further and how the same state of mind can be used to influence the viewer to redefine and revaluate what they are contemplating in an exhibition space.18

     

     

    In my artistic work I focus on the jewellery more as a tool to explain my concept then on form and functionality. I place my jewellery in situations where it becomes harder to categorise if they are jewellery, installations, sculptures or if they could be interpreted as something else. I am creating situations surrounding my jewellery with the aim to put the viewer in a state where they become ambiguous and are forced to revaluate what they are seeing and experiencing. It can be interpreted as one or several integrated pieces communicating with each other executed in materials that I believe has the qualities that can be connected to ambivalence.

     

     

    The textual discourse based on ambivalence is seen from different angels and is closely entangled with my own thoughts on the subject and related to my own artistic process and material choice. I further illustrate my considerations by referring to other artists that work with the jewellery in various ways.

  • 46.
    Ek, Jon
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    The Choice2011Independent thesis Basic level (degree of Bachelor), 5 credits / 7,5 HE creditsStudent thesis
    Abstract [en]

    People´s different ways of taking decisions and making choices has always intrigued me.  Some people´s choices seems perfectly logic to me and others choices makes no sense at all. In this essay I will look upon some of the theories of theology, philosophy and natural science about how and why we make our choices. Are our choices based on nature or nurture? Are we always free to choose? Is there a free will? Or are we actually controlled by something greater?

  • 47.
    Ekerby, Jenny
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Leta i nuet2014Independent thesis Basic level (degree of Bachelor), 5 credits / 7,5 HE creditsStudent thesis
    Abstract [en]

    Life constantly offers impressions and choices to us humans, and I, personally often feel that it makes me confused and tired. Life is not easy and perfect, so every time I want something to happen I need to stop and think about what is going to be the next step; I need to help and push my self into the beneficial ways in life. I sometimes know how to benefit from a situation and sometimes I don't. To keep the surroundings in a certain organized order seem to be the most effective way to reach beneficial goals. Some situations in life can be changing or affecting the planning of what is to be done next. The absence of a required object can make it impossible to achieve what's been planned and set strong emotions free.  To get stuck in a small situation that was meant to only be a halt to overcome to go to the next one can be frustrating and feel like taking a step into the unknown. One morning I was stressed and I could not find my keys and I thought that I would be greatly rewarded if I found them;  the day was going to be perfect. But instead, my feelings of frustration took over and lead me into an ambivalent state where my body begun to react faster than my thoughts. I didn't have the will or time for anything else than to look for the key. Looking back at this situation I see that I was present in the moment but I spent my energy in an unbalanced way. I wasn't thinking clearly, I didn't even finish my thoughts running through my mind. I am working with corpus in an attempt to make the situation catch physical substance by investigating it from a new point of view, in which I try to see the whole of it and not just the key.

  • 48.
    Elmstam, Åsa
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Äldreestetik: ett undersökande projekt om äldre människors situation och deras form- och funktionsideal2006Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 49.
    Engberg, Sara
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Ett utbytesår i Nantes1996Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 50.
    Engberg, Sara
    University College of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal.
    Mikrokosmos1998Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
12345 1 - 50 of 216
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