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

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

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

  • 3.
    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. 

  • 4.
    Andersson, Alexandra
    University of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    På tal om texturen2018Independent thesis Basic level (degree of Bachelor of Fine Arts), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    Abstract

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

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

  • 5.
    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.

  • 6.
    Bengtsson, Jonas
    University of Arts, Crafts and Design, Department of Crafts (KHV), Ceramics & Glass.
    Den Konstnärliga skapandeprocessen.: Ett personligt perspektiv.2018Independent thesis Basic level (degree of Bachelor), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

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

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

  • 7.
    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.

  • 8.
    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.

  • 9.
    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.

  • 10.
    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
  • 11.
    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.

  • 12.
    Eriksson, Sofia
    University of Arts, Crafts and Design, Department of Crafts (KHV), Ädellab (Jewellery and Corpus).
    Beyond the skin2018Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    This paper presents an investigation in stages of transformation between body and ornament to show upon their fluid relationship and their role for the creation of human identity. I see the act of adorning the body as an act of desire, in which we take part to become something more elevated than our original state of being. I use my background as a jeweller and the body as the territory for investigating these acts of transformation. Through material explorations I examine how we mirror ourselves in the things we make and how we reinvent our bodies through making. I compare the role of the maker with the scientist and discuss the increased interest in the body and its relation to a more and more virtual reality. I make links between ancient body modifications and human enhancement within new technology and throughout the paper I discuss my work in relation to other artists work and theorists relating to visual practices.

  • 13.
    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
  • 14.
    Ferreira, Gustafsson, Marcelo
    University of Arts, Crafts and Design, The Department of Design, Crafts and Art (DKK), Ädellab/Metal. University of Arts, Crafts and Design, Department of Crafts (KHV), Ädellab (Jewellery and Corpus).
    Delirium: From the depths of mania2018Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    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.

  • 15.
    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
  • 16.
    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.

  • 17.
    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.

  • 18.
    González Osnaya, Ma de Lourdes
    University of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    Tan Lejos y tan cerca/ So far and so close2018Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    A project around loss and absence. This work is a reflection on tradition, mourning and the importance to remember. Based on how crafts relate to society in ceremonial contexts by being a tool to communicate with others.

    By having a reflective relation with tradition this fiber works intend to transfer the innate poetic language of symbolic materials used in rituals around death and commemoration in Mexico into new forms through specific repetitive actions in the making.

    Delving into the unique physical qualities of onion skin, sugar, beeswax, corn husks and paper. Seeking to evoke an emotion by diverting our perception of ordinary materials.

  • 19.
    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
  • 20.
    hedberg, ellinor
    University of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    Allt som glimmar2018Independent thesis Basic level (degree of Bachelor of Fine Arts), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    My aesthetic preferences was shaped by the jumble of pop culture from the 80´s and 90´s. Also Archie comics, Wham-songs, musicalfilms like Annie and Fame, even the colourful racing suites worn by swedish downhill skier Tomas Fogdö in 1993, seems to have had an impact on my taste for glitter and strong colours.   This is something I´m always carrying with me and it echoes in my drawings and embroiderys

  • 21.
    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
  • 22.
    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.

  • 23.
    Jonsson, Linnéa
    University of Arts, Crafts and Design, Department of Crafts (KHV), Ädellab (Jewellery and Corpus).
    THE REACH2018Independent thesis Basic level (degree of Bachelor of Fine Arts), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    We walk through most of our everyday life without constantly thinking of what we are doing in that exact moment. I mean, that would be absolutely exhausting. Left foot, right foot, left foot, right foot. Hand to cup, grab, lift and onwards to the mouth. But what is interesting is that we refer to these actions and doings as nothing. They seem to have no value to us at all. What have you been doing today? Nah, nothing. Nothing at all. As well in our commute to work. Sometimes we step onto a bus or train and when we take off our coat at work we almost don’t even know what happened between point a and point b. Does it seem familiar?  My work has come to evolve around our everyday routines. How in those moments of unconscious nothingness we actually do so many things and most of all encouter so many objects. When we walk through a door, pick up a tool, open a box, we grab a handle and the bodily encounter is made through the hand. I’ve come to explore how it seems that the hand has its own life when we are in this state. How the objects in our everyday call for the hand, directs the hand, makes a choreography for the hand. I have recorded the hands movement in different media in order to get a new view of something familiar and try to find new realities to what we think we know.  What happens when the hand and a handle meet in a routine? What does it actually look like? Why is it important to become aware of?  I believe by changing our attitude to things in our environment, we can also change the attitude to people around us. Changing perspectives on the most ordinary everyday chores can generate new thoughts about the commonplace and like the butterfly effect also create a more permissive society.  

  • 24.
    Karlberg, Catrin
    University of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    Me, Weaving: Speak in another way2018Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
  • 25.
    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
  • 26.
    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
  • 27.
    Krissberg, Alex
    University of Arts, Crafts and Design, Department of Crafts (KHV), Ceramics & Glass.
    Crafted Architecture, An Investigation into Handcrafted Glass Techniques2018Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    This paper is an investigation into the crossroads of traditional and contemporary glass craft techniques. Through innovative methods in the workshop I have set out to bring glass into the public sphere using the potential for handcraft in architecture.

  • 28.
    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.

     

  • 29.
    Larsson, Jakob
    University of Arts, Crafts and Design, Department of Crafts (KHV), Ceramics & Glass.
    Verkstaden för potentiell keramik: Eadem Mutata Resurgo2018Independent thesis Basic level (degree of Bachelor), 180 HE creditsStudent thesis
  • 30.
    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.

  • 31.
    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.

  • 32.
    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. 

  • 33.
    Lundsjö, Kristina
    University of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    Ways of dealing with her fabrics2018Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    This paper presents my project of working with an inherited collection of textile materials. It also presents the links my work has to aspects of Femmage, the term coined by artists Miriam Schapiro and Melissa Meyer in the 1978 article Waste Not Want Not: An Inquiry into What Women Saved and Assembled-Femmage. Working with this textile tradition I explore ways in which to develop my own visual language, where intuition, play and rhythm are key methods and collage, appliqué and print are the main techniques. 

  • 34.
    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.

  • 35.
    Marinina, Nina
    University of Arts, Crafts and Design, Department of Crafts (KHV), Ceramics & Glass.
    Grey Flowers2018Independent thesis Advanced level (degree of Master (Two Years)), 80 credits / 120 HE creditsStudent thesis
    Abstract [en]

    This paper presents my master project Grey Flowers” which is an incarnation of a poetic metaphor to a ceramic flower sculpture. The project is an installation of crafted flowers as a strong symbol of a short lived moment which has now stopped for ages. This sculptural work is based on the notion of decadence of the 19th century and presents a new way which it can been interpreted.

    Ceramics, clay and firing processes are used as a methods of unpredictability and a “happy accident”. The main aim of the project is to create a feeling of abandonment by showing decaying and dying beauty. The sculptural work investigates the different aspects of the flower and its representation trying to show different approaches tothinking and working while telling about the same idea.

  • 36.
    Martin, Lucy
    University of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    Funland_123: How can I use material, interactivity and symbols to create an allegory of how The Internet has changed our lives?2018Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
  • 37.
    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.

  • 38.
    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.

  • 39.
    Moores, Hannah
    University of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    A Fragile Language2018Independent thesis Advanced level (degree of Master (Two Years)), 80 credits / 120 HE creditsStudent thesis
    Abstract [en]

    Through my personal viewpoint as a textile designer, this paper explores my thoughts of history and archive as narrative, textile as body and print as memory. My methods center around printed textiles and its potential to explore themes and further methods of layering, memory and narrative. Through experimenting with techniques including devoré, screen, block and stencil printing, I aim to highlight and visualise a fragility in our recording of history. As Victoria Browne quotes in ‘Feminism, time, and nonlinear history’, “all history takes place in the present, as we make and remake stories about the past to enable a particular present to gain legitimacy.”. In the case of the project, the history is within printed textiles and for the me the story is not of a particular person but of a collective language of artists who use shape, layer and colour as a tool to communicate and understand their personal world.

  • 40.
    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.

  • 41.
    Möller, Anna Ting
    University of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    THE BABY BUCHA PROJECT2018Independent thesis Basic level (degree of Bachelor), 20 credits / 30 HE creditsStudent thesis
    Abstract [sv]

    For my bachelor's project, I am confronting the feelings of being transnationally adopted. I do not see adoption as a ”win-win” situation, and I would like people to both think critically about it and question its glorification. As a POC-child myself who grew up with white parents, colorblindness has made my existence rather difficult to deal with. Plagued with feelings I did not understand at the time, I became an isolated island. I want to visualize the feeling of estrangement and alienation from your own body and frightened to drown in your own skin. I have often felt the need to unzip my skin suit and to leave it in a pile on the floor, next to my trousers. In this project I am growing my own skin in a vat, or more precisely, I am growing a kombucha culture in tea and sugar. During the fermentation process, the kombucha culture creates a cellulose material that resembles human flesh. The process is slow, and the development of the material requires a lot of love and nutrition. In return, I get a self-produced material that allows me to work independently. My final piece communicates how it feels to not feel compatible with the body that encases you, as a result of the norms that are written onto your skin.

  • 42.
    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
  • 43.
    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
  • 44.
    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.

  • 45.
    Nilsson, Fia-Maria
    University of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    Ritualia – för att få mig att bli hel2018Independent thesis Basic level (degree of Bachelor of Fine Arts), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    We need to talk you and I, in a place that is our own. There, we can see everything around us as less important. There, I can sink into you, live, and tell everything. Take back the power over you. Take back the power over the events that destroyed us both. There, I can become a part of myself, and then, nothing else is visible.

    I listen to the body without distancing. Free movement of the body without the guidance of others. I let the mind meet the body, in a way it previously failed. Whatever we go through here, we will do it together, and no one else is inside. If we get through this, can we come closer to each other and experience the mental freedom that includes us both? We need to talk you and I, in a place that is our own.

    A performative work with the weave as the tool

  • 46.
    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? 

  • 47.
    Nirstedt, Mathias Miriam
    University of Arts, Crafts and Design, Department of Crafts (KHV), Textiles.
    Lipgloss Melt2018Independent thesis Basic level (degree of Bachelor of Fine Arts), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    This work is an exploration of the relationship between gender, the body and clothing, raising questions about identity while trying to deconstruct gender as a binary concept. I relate textile material transformations to drag and talk about the importance of non binary and trans visibility and representation. Interweaving my personal story with queer theoretical elements, I’m creating a sculptural installation, visualizing a possible future where fluidity supersedes fixity.

  • 48.
    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
  • 49.
    Olofsson, Ammy
    University of Arts, Crafts and Design, Department of Crafts (KHV), Ceramics & Glass.
    Computer-human relation through glass: a part of the masters project “Growing Computers, Connecting Bodies, Cutting the Cord”2016Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    In this master project I investigate materiality, transhumanism and alternative ways of producing knowledge and new discussions in the fields of glass craft, electronics and biotechnology. I make do-it-yourself glass computers and explore the relation between body/human-machine/computer with a hacker approach.

  • 50.
    Ottosson, Linda
    University of Arts, Crafts and Design, Department of Crafts (KHV), Ädellab (Jewellery and Corpus).
    And slowly poisioning begins to sneak up on you. Now wash your hands.2018Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    With a staring point in personal memories and experiences this project practically and theoretically investigates ways in which informal groups, based on male gender identification, works towards exclusion of those of female gender identification. And how this exclusion creates hierarchies and contributes to the reproduction of a certain type of gender pattern, in which masculinity is defined as an opposite of femininity, and where the masculine needs to be separated from the feminine in order to maintain its masculinity. I've used my own experiences and a theoretical base to highlight situations in my life where this exclusion have become apparent. I’ve worked in relation to a tradition of corpus, where the elevation and ritualistic aspects of objects contribute to my pieces. In making these pieces I have used many techniques, most notably casting, which make my objects a representation of what they are cast after, a repeated form. 

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