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  • 1.
    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
  • 2.
    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. 

  • 3.
    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.

  • 4.
    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.

  • 5.
    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.

  • 6.
    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.

  • 7.
    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
  • 8.
    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.

  • 9.
    Eronen, Evelina
    University College of Arts, Crafts and Design, Department of Crafts (KHV), Ceramics & Glass.
    Kihlonniemi: minnet av en plats2016Independent thesis Basic level (degree of Bachelor of Fine Arts)Student thesis
  • 10.
    Forsberg, Elin
    University College of Arts, Crafts and Design, Department of Crafts (KHV), Ceramics & Glass.
    Drömmar: ett glasprojekt om en sorgeprocess2016Independent thesis Basic level (degree of Bachelor of Fine Arts)Student thesis
  • 11.
    Frølund Bech, Louise
    University College of Arts, Crafts and Design, Department of Crafts (KHV), Ädellab (Jewellery and Corpus).
    Treasures in Transition: -On Connecting to Stone2016Independent thesis Advanced level (degree of Master (Two Years)), 80 credits / 120 HE creditsStudent thesis
    Abstract [en]

    The things we have an intimate connection to, handle, collect, and move around with us, are treasures that we need to hold on to. They are important in coping with the balance of movement and stability in a fast-changing world. This project is an investigation of the relationship between people and objects through the making and handling of stones. I explore why and how we connect intimately with physical objects, how they become treasures to us and what it means. Through digging into the stones, connecting to their story of endurance, change and solidity, and eventually letting them go, I explore the role of touching and paying attention, in making and relating to objects and transformation. The stone objects are made from pieces of rock I have collected while travelling. All of them have been transformed by human hands before I picked them out, and many have been given out and then returned to me. Through this ongoing process of transformation and physical encounters, it is becoming clear to me that connection is not only about solidity and stillness, but also about being part of the transformation. Stone as a material is both solid and changing. I aim to make objects of stone that attract and encourage people to engage with them – to experience the pleasure and groundedness that slowing down, zooming in and getting in touch can offer.

  • 12.
    Ghasemloo, Polat
    University College of Arts, Crafts and Design, Department of Crafts (KHV), Ceramics & Glass.
    Den prekära konsthantverkaren II2016Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [sv]

    I mitt examensarbete har jag undersökt min prekära situation som konsthantverkare och hemtjänstpersonal. Arbetet innehåller reflektioner från den prekära situation det innebär att arbeta i hemtjänsten och att vara brukare. Jag belyser mina medvetna och omedvetna översättningsprocesser från hemtjänsten till mitt konsthantverkskap. Arbetsprocessen i verkstaden binds ihop med prekariatets mindre synliga delar. Identitet, tillhörighet och gemenskap.

  • 13.
    Gustafsson, Marcelo
    University College of Arts, Crafts and Design, Department of Crafts (KHV), Ädellab (Jewellery and Corpus). Sarepta.
    [BEYOND FLESH]: Archives § Documents2016Independent thesis Basic level (degree of Bachelor), 5 credits / 7,5 HE creditsStudent thesis
  • 14.
    Hultqvist, Caroline
    University College of Arts, Crafts and Design, Department of Crafts (KHV), Ceramics & Glass.
    Formad natur2016Independent thesis Basic level (degree of Bachelor of Fine Arts)Student thesis
  • 15.
    Johansson, Ida
    University College of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    NOT ON THE FABRIC BUT IN THE FABRIC: hardanger embroidery, animation and the grid2016Independent thesis Advanced level (degree of Master (Two Years)), 80 credits / 120 HE creditsStudent thesis
    Abstract [en]

    This paper describes my work with a historical craft and my attempt to find new ways to look at it, work with it and present it. I use the embroidery technique Hardangersaum which is all white, and where selected threads of the woven fabric grid are removed while others are wrapped and embellished. The artistic research leans heavily on the traditional craft but tries to isolate it from its historical baggage. I turn my focus to the grid of the fabric and I present some viewpoints from Rosalind Krauss and Hannah B. Higgins. I describe questions of scale and presentation that have emerged and show how digital animation has played a major role in the development and the communication of the embroidery work.

  • 16.
    Karlsson, Ida
    University College of Arts, Crafts and Design, Department of Crafts (KHV), Ceramics & Glass.
    Att skapa sig själv: identitet & självbild2016Independent thesis Basic level (degree of Bachelor of Fine Arts)Student thesis
  • 17.
    Kollberg, Evelina
    University College of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    Människofällan2016Independent thesis Basic level (degree of Bachelor of Fine Arts)Student thesis
  • 18.
    Kuhs, Simone
    University College of Arts, Crafts and Design, Department of Crafts (KHV), Ceramics & Glass.
    Saker som inte finns och saker som inte har hänt (II)2017Independent thesis Basic level (degree of Bachelor of Fine Arts), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    Abstract

    Saker som inte finns och saker som inte har hänt (II)

    Things that do not exist and things that haven´t happened (II)

    It feels like I have a bulb of glass around my head. I'm in the real world but still I am not. My head is in another dimension. I can see that my body is moving but the movement feels unreal and

    disconnected. Sounds are distorted – a sound from my head lies like a layer over all the sounds

    around me. To be in the real world but not belonging, a place where sounds and movements feel

    different and strange. It´s a quiet state, a secret panic that doesn’t show itself outwards. You must

    wait, it will eventually pass.

     

    My bachelor project is about a psychological state, which I call bathroom-psychosis. It’s about being

    traumatised by sexual abuse. My work is about what happens afterwards, when the trauma is not

    present. It’s about the human mind's ability to shut off and block difficult states but its lacking ability to take care of the mind fully. It’s a silent panic, turned

    inwards – inside the own body. It´s a secret. A feeling you must suffocate. It must be hidden.

     

  • 19.
    Larsson, Kristin
    University College of Arts, Crafts and Design, Department of Crafts (KHV), Ceramics & Glass.
    Hybriderna2017Independent thesis Basic level (degree of Bachelor of Fine Arts), 20 credits / 30 HE creditsStudent thesis
    Abstract [sv]

    This essay and the work within describes my project where I have been investigating the possibilities to explore the material pewter through my craftsmanship as a glassblower. I've been trying to find new methods and expressions in my work by adding another material to my practice and questioning my own tradition as a glassblower and my perception of glass. Inspired by post humanist theories on materialism I have through a experimental approach developed a method of combining the two materials into objects or Hybrids.

  • 20.
    Liljebäck, Emelie
    University College of Arts, Crafts and Design, Department of Crafts (KHV), Ädellab (Jewellery and Corpus).
    Mellan Rum: En undersökning om väntan2017Independent thesis Basic level (degree of Bachelor of Fine Arts), 30 credits / 45 HE creditsStudent thesis
    Abstract [en]

     19/10 – Field diary

    Waiting isn’t visible, but you can feel it. It cannot be touched but it can touch you. You can feel it in your body, all the way from your head and down to your toes. Waiting is impossible to lock down; it is fluent and floating between us. Waiting is between you and me, creating a room.

    With my work ”In Between” I am investigating the term waiting.

    Waiting is a big part of our daily life. We are waiting for new episodes of our favourite tv-shows, the laundry to dry, and the dinner to be ready. We are waiting for something to happen, something to change. The emotions concerning waiting can be filled with expectation, longing and joy, but also with anxiety and stomach pain.

    Waiting is something we do physically, by example, standing in line. But it is also psychological, a mental state. Waiting is a space where time is central. There is a void in waiting, a loneliness and passivity that I find interesting.

    Waiting is something that is taken for granted, something that just happens. Something that lures in the shadow of what is going to become. There are rooms for waiting, waiting rooms. Big parts of our lives are waiting rooms. What are we doing there, and what is important in waiting?

    I am interested in the space in between where time is on-going. Still it is like a vacuum, a borderless space where we spend so much time. What happens here and why is nothing happening?

    I have chosen to focus my embodied work on female waiting. The female body have layers of waiting, both physically but also mentally. It is important for me to enhance the history of women that have been waiting. Thanks to those women, who have been waiting in the shadow of someone, I have the opportunity to make this work. The making in waiting is important. In today’s society, that has become more and more traditional, we have forgotten this waiting. A waiting of change. A week ago women were marching all around the world for women’s rights. It is 2017 and we need to march for our rights? How long should we wait to live in an equal society, for all?

    ”Waiting is in our bodies” (Beckman 2009:110).

    I think the body is a good introduction to both corpus and jewellery. They both need a body to understand its function, just like waiting.

    In my work I see the waiting room, the in between, become my corpus as it function as a container for me, my thoughts and for waiting. Jewellery is an extension of my body as well as a way for me to communicate. I see the difference between corpus and jewellery in my work. With corpus I can show you the room of waiting, and with jewellery I can show you how waiting feels like.

  • 21.
    Lindblom, Gustaf
    University College of Arts, Crafts and Design, Department of Crafts (KHV), Ädellab (Jewellery and Corpus).
    Heteronormen: Det är ju ändå nutid2017Independent thesis Basic level (degree of Bachelor of Fine Arts), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    Heteronormativity is one of the most powerful norms in our society today, a norm that many take for granted as natural. Heteronormativity is seldom discussed, it often becomes a non-question. However, the effects can be substantial for those who are outside of the norm. In my work I am discussing these issues and how it affects every day life for queer people. The work consists of four art jewellery pieces, with the four titles discussing the subject: desire, activism, owning and adjusting.

    Jewellery is an old language that speaks about status, individuality and hierarchy. The wearing tells us so much about the person. A pin shows the wearers political views and diamonds shows status. We need to expand the field of jewellery in order to question what jewellery really is, so that we can use jewellery to widen the acceptance of the individual. I want to investigate and queer the relationship between jewellery, wearing and the body. I have worked with big and small object. 

  • 22.
    Löfgren, Sonja Maria
    University College of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    Fragments of Belonging2017Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    My master work is an installation of hand embroidered images.

    The theme of my work has been the feeling of belonging to a new environment and the process of a place becoming a home. I explore the perception of a place and pick fragments to translate into embroidery.

    The key question is: how can I communicate a state of mind and perception of a place with embroidered images?

    With this body of work I also explore the hierarchy of places in a city. I use a large amount of hours working on one specific fragment and through the chosen slow technique I discuss the value of it.

  • 23.
    Matei, Linea
    University of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    Schyssta Killar: Ett utforskande av mansroller och jämställdhet med fokus på män2017Independent thesis Basic level (degree of Bachelor), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    Nice Guys

    A research of gender equality in Sweden 2017 focusing on men and men's roles.

    A study how I can shift focus from the victims to the perpetrators.

    A method of working with interviews, statistics, and studies in a combination with visual techniques and materials such as textile sculpture, print, painting and dyeing.

  • 24.
    Melgarejo Martinez, Maria Fernanda
    University of Arts, Crafts and Design, Department of Crafts (KHV), Ceramics & Glass.
    Craft in violent dynamics2017Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    In concrete words this master project is the exploration of violent dynamics through craft practices. Using performance as a method of creation in a collaborative project; clay as the main material, the maker’s body as the subject and sound as the space, having the possibility to transform and exchange their rolls during the creation process. The work is thought to be presented in a public space or a space which can be accessible to a wide range of people. The ephemeral characteristic of the piece lead me to use multi-media documentation and on-the-side pieces which have been crucial for this exploration.

  • 25.
    Määttä Siltberg, Vega
    University College of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    Vinterskörd2016Independent thesis Basic level (degree of Bachelor), 15 credits / 22,5 HE creditsStudent thesis
    Abstract [sv]

    Utgångspunkten i detta projekt har varit att skapa en inredningsdetalj till en specifik plats och kund och att göra det på ett så miljövänligt sätt som möjligt. Min kund är ett bageri och kafe vars koncept är att använda sig av lokala och ekologiska råvaror. Konceptet och kafeets befintliga inredning har påverkat min gestaltning. Jag har valt att fokusera på vass som material och skapat en vävd vägg av vass som fungerar som skiljevägg eller väggbonad och som är funktionell och framför allt dekorativ. Genom processen har jag tagit olika val baserade på min vilja att arbeta miljövänligt. Du får ta del av min arbetsmetod där jag genom hantverket provar mig fram till det slutgiltiga objektet och samtidigt lär mig om materialets kvalitéer och historia.

  • 26.
    Nestor, Johanna
    University College of Arts, Crafts and Design, Department of Crafts (KHV), Ceramics & Glass.
    Den moderna kakelugnen2016Independent thesis Basic level (degree of Bachelor of Fine Arts)Student thesis
  • 27.
    Netterberg, Ida
    University College of Arts, Crafts and Design, Department of Crafts (KHV), Ceramics & Glass.
    Ur jord2016Independent thesis Basic level (degree of Bachelor of Fine Arts)Student thesis
  • 28.
    Nilsson, Emma
    University College of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    AMEH JAG DÅ!?: En mönsterkollektion och ett litet rop på hjälp2017Independent thesis Basic level (degree of Bachelor of Fine Arts), 20 credits / 30 HE creditsStudent thesis
    Abstract [sv]

    Med utgångspunkt från boken Omforma : Nya strukturer för designbranschen, har jag undersökt arbetssituationen för en mönsterdesigner 2017 och hur det går att koppla till svensk mönsterhistoria. Ett exempel jag tittar närmare på är kollektionen Signerad textil som visades på NK 1954. Jag reflekterar också över samtidens besatthet av mönster från 50- och 60-talet och vad det kan skapa för konsekvenser för nu verksamma formgivare. 

    I det gestaltande arbetet har jag skapat en varierad mönsterkollektion där jag försöker reflektera och utmana min egen designprocess.

  • 29.
    Nilsson, Linette
    University College of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    Swimming Pool2017Independent thesis Basic level (degree of Bachelor of Fine Arts), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    My project started with two words: Swimming Pool. They came to me through a song, Banshee Beat by Animal Collective (2005). To me, their music is mystical, abstract, unpredictable and also metaphorical. So I started to think about if a swimming pool could be something more than just an open container filled with water. After some thinking I came to the conclusion that it could be a metaphor for something calm, quiet and dreamy. However, I’m not sure but my aim is not to get to a specific answer through this project. 

    I’ll turn the metaphor into a textile work that portrays what you see when you’re standing at the edge of the swimming pool; a distorted picture of a grid, the bottom of the pool. I’ll be working with dyeing, patchwork and quilting. The textile craft is important in this project because of how relaxed and calm I get by doing things with my hands. 

    The questions I’m asking myself are how I can express the metaphor through my work? What if my interpretation is too wide? Is it possible for me to create a tactile and calm feeling without the physical touch? 

  • 30.
    Nossbring, Rasmus
    University College of Arts, Crafts and Design, Department of Crafts (KHV), Ceramics & Glass.
    De som väntar2017Independent thesis Basic level (degree of Bachelor), 20 credits / 30 HE creditsStudent thesis
  • 31.
    Polsk, Camille
    University College of Arts, Crafts and Design, Department of Crafts (KHV), Ceramics & Glass.
    Moder Jord: Ett utforskande av terrakottakrukan, odlingslust och piedestalen2017Independent thesis Basic level (degree of Bachelor), 180 HE creditsStudent thesis
  • 32.
    Rhodiner, Petter
    University College of Arts, Crafts and Design, Department of Crafts (KHV), Ceramics & Glass.
    Mycraft: material, görande, upplysning2016Independent thesis Basic level (degree of Bachelor of Fine Arts)Student thesis
  • 33.
    Skantze, Kristina
    University College of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    Body anagram2016Independent thesis Advanced level (degree of Master (Two Years)), 15 credits / 22,5 HE creditsStudent thesis
    Abstract [en]

    BODY ANAGRAM is a number of hand stitched sculptures, a growing collection of mountable body parts that can be organized and screwed together in different ways. The process of stitching and sculpting bodies is metaphorically compared to the art of anagrams, wordplays. Their common reversibility between recognition and destruction is discussed. Psychological perspectives on intersubjective, as well as subject-object relationships are used to explain what can happen when people and sculptures meet.

    How can common emotional experiences of relationships be embodied through human-like textile sculptures? This question is processed in video documentations of people interacting with the sewn body parts. These meetings as well as collaborations around the making of the film, “Your hands and their hands”, are explored further in this paper.

  • 34.
    Smith, Benjamin Michael
    University College of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    Building Materials2016Independent thesis Advanced level (degree of Master (Two Years)), 80 credits / 120 HE creditsStudent thesis
    Abstract [en]

    In this paper I outline my research into material humour through designing and making cut pile rugs.  Cut pile rugs are textiles that have yarn at a right angle to the surface of the cloth creating a ‘pile,' this can be produced by knotting by hand, or tufting using a tufting gun.  In this project I translate the patterns into tufted carpets to investigate how the patterns change when they are transformed into three dimensional objects.  Alongside this technical research I  study the use of material humour in the works of conceptual design studios; Front, Uglycute and Droog to explore the use of comedic effects in design.  This paper will develop these investigations by documenting the creation of samples and rugs and their presentation at the Konstfack 2016 Spring exhibition.

  • 35.
    Smith, Matt
    University of Arts, Crafts and Design, Department of Crafts (KHV), Ceramics & Glass.
    Flux: Parian Unpacked2018 (ed. First)Book (Other (popular science, discussion, etc.))
  • 36.
    Smith, Matt
    University of Arts, Crafts and Design, Department of Crafts (KHV), Ceramics & Glass.
    Prejudice and Pride: LGBTQ heritage and its contemporary implications2018Collection (editor) (Other academic)
  • 37.
    Sollevi, Anna
    University College of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    Craft Reality2017Independent thesis Basic level (degree of Bachelor), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    CRAFT REALITY Handicra vs. Digital technology

    A mashup with the aim to unify and to expand.

    A research of the possibilities that appear when I allow textile cra to get a ected by and to interact with digi- tal manipulation and the aesthetic of the world wide web.

    A study in contemporary and underground art forms, developed by them young or A method of working with techniques and material, once taught by those today seen as them old:

    Maybe it can be both. 

  • 38.
    Stampe, Elin
    University College of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    Ögonblicksbilder: En konstnärlig undersökning av den koreografiska relationen mellan kropp och objekt2017Independent thesis Basic level (degree of Bachelor), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    Ögonblicksbilder - A discussion about the interactive and choreographic relation between body and spatial object.

    The eye, an organ with many sections, has a significant role in today’s society. We can choose what is received (news, surroundings, people) and what we turn a blind eye to. The gaze is somewhat physical and the sections within the eye define the space around us. Body and space are in constant relation to one another, choreographed by each other. Together they create a common sphere. 

  • 39.
    Tengå, Tove
    University College of Arts, Crafts and Design, Department of Crafts (KHV), Ceramics & Glass.
    Calculating craft2016Independent thesis Basic level (degree of Bachelor of Fine Arts)Student thesis
  • 40.
    Tingvall, Josefin
    University College of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    Soft Society2017Independent thesis Advanced level (degree of Master (Two Years)), 30 credits / 45 HE creditsStudent thesis
    Abstract [en]

    Illustrated exam paper for Josefin Tingvalls project Soft Society. Which is about investigating through cloth and textile our urban surrounding. The core question ; if I go out in an urban area and use textile as a recordmaterial, what traces and stories will I bring back? By looking at textileas a matter, craft and as a philosophical starting point in urban areas, what can it tell about our surrounding and our society? In the three mainchapters of the paper, Tingvall reflects upon important themes such as wandering and spectating, also exhibiting of process based craft, textilein urban areas and matter-based dyes and their relation to us.

  • 41.
    Towndrow, Lizzie
    University College of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    The Patchwork-Quilter as the Storyteller: MY DEAD DOG!2016Independent thesis Advanced level (degree of Master (Two Years)), 80 credits / 120 HE creditsStudent thesis
    Abstract [en]

    Objects can evoke our most vivid memories and sensory emotions, through the stories that have been engraved into them across their lifetime. Throughout history, patchwork-quilting has been used to tell stories, hide messages and hold histories. They are seen as objects of warmth, comfort and security, inanimate extensions of ourselves that store our most complex sentiments and memories- becoming heirlooms that are kept in the families and communities for generations, preserving our histories and material culture. 

     

    I intend to explore the inseparable relationship between craft and narrative within quilts, whilst re-imagining the quilts forms and functions in order to communicate stories more vividly. To do so I will use my memories of My Dead Dog, Henry, to illustrate narratives and embed them into quilted objects to stage as a tableau of artifacts. I intend to encourage the viewer to realise the imagined, through a haptic experience of my material world, whilst simultaneously creating my own heirlooms that can be passed down so my stories are not forgotten.

  • 42.
    Varhelyi, Agnes
    University College of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    Fucka Upp-Styrkan2016Independent thesis Basic level (degree of Bachelor of Fine Arts)Student thesis
  • 43.
    Wall, Sofia
    University College of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    Kärleksmönster2016Independent thesis Basic level (degree of Bachelor of Fine Arts)Student thesis
  • 44.
    Wallert, Lisa
    University College of Arts, Crafts and Design, Department of Crafts (KHV), Ceramics & Glass.
    Embodied: A bodily investigation through ceramic sculpture2016Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    Abstract

    Embodied evolves around the tactility of the present body, in relation to the eternal absence and the perishability of itself end the world that surrounds it. I work with ceramic sculpture, where the body in relation to the material and the world is both my theme and my method. The body is always present and a basic condition to experience and make objects; it is the subject, the objectand the execution in my work. The written part of my examwork is based on my process and studiowork.

  • 45.
    Westerberg, Julia
    University of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    Gal Pals in Print2017Independent thesis Basic level (degree of Bachelor), 20 credits / 30 HE creditsStudent thesis
  • 46.
    Williamson, Kay
    University College of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    Being In Touch, The Important Thing For Folks To Be2016Independent thesis Advanced level (degree of Master (Two Years)), 80 credits / 120 HE creditsStudent thesis
    Abstract [en]

    This project considers the potential impact of learning relations between hobby craft makers and formally educated makers. It questions how the craft based relationship of a formally educated artist and a self taught/amatuer maker can be renegotiated and implemented in a broader learning context. The artistic research aims to propose that a facet of ‘new knowledge’ in the field and future of contemporary art and craft production is one of togetherness; by embracing discomfort and the unfamiliar to affirm and reveal the knowns and unknowns of one's own practice and field. The question is considered in discussion with social/relational art practices, amatuer craft theory and gift theory. The project culminates both in this paper and an exhibition piece as part of Konstfack University College of Arts, Crafts and Design Spring Exhibition 2016.

  • 47.
    Winther, Sarah
    University College of Arts, Crafts and Design, Department of Crafts (KHV), Ädellab (Jewellery and Corpus).
    Dying Traditions2016Independent thesis Basic level (degree of Bachelor), 5 credits / 7,5 HE creditsStudent thesis
    Abstract [en]

    Within a year I lost three close family members. My grandfather, my grandmother and my stepfather. Three very different deaths and therefore very different mourning periods were entangled and intertwined. Death suddenly became a ubiquitous part of my life, and the sorrow an overshadowing part of my everyday. This period in my life became the starting point for my thesis 'Dying Traditions'.

    In todays Western Society we have become so good at prolonging life, that most people get to live a long life and die of old age. But the advancements in medical science have, together with the institutionalization, removed death from our daily life. We are no longer in contact with death aside from what we see through media and movies. We are missing a way of coping with the natural death, which makes it difficult to grasp and surrounds it with a taboo.

    With my work I want to facilitate a conversation surrounding death. By the use of contemporary jewellery and silversmithing work I want to place the conversation and presence of death in both the public, private and personal space. I want to create a starting point for new rituals to work through a mourning period. I make use of my own personal experiences as a starting point to create contemporary Memento Mori objects fitting for todays Northern European Society.

  • 48.
    Wollin, Elin
    University of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    Fresh Face >>> Body 2.0: Handens minne + Digitala dimensioner2017Independent thesis Basic level (degree of Bachelor), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    "My goal with this project is to digital print a Science Fiction inspired print on fabric that provides an optical illusion with lenticular technology. The fabric will be presented with five curtain drapings, two in motion with motorized movable suspensions.

    The Print design is going to be created with a science fiction/cyberpunk/transhumanism atmosphere. I’m inspired by the relation between body and machine. The textile field is drawn to smart textiles where the idea of function, artificial intelligence and virtual reality is central. There are already textiles that are designed to react to the wearers needs. And soon it will be possible for the online shopper to purchase customized clothes by recreating themselves as an avatar through 3Dscanning. With this as inspiration my digital print is designed.

    Technically I will produce a fabric using the lenticular technology that creates an optical illusion. In order to produce the fabric, I need to work with the prints in Photoshop and then digitally print them on fabric. So that the fabric could be able to obtain an optical effect, a lens made of silicone will be laminated on top. The silicone lens is cast in a form which is sketched and made as a model in Rhino and then cut out from a metal block with a milling cutter.

    The composition will be presented as five curtain drapings. Two of them moves with electric winches. They will hang separately but communicate in a spatial constellation. Like organs the draperies spread out and fall back again. Here, as in the print design, the body and the machine will be crucial. The focus is also on the fabric's tactile character, drama and historical heritage."

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