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  • 1.
    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. 

  • 2.
    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.

  • 3.
    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.

  • 4.
    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.

  • 5.
    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.

  • 6.
    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
  • 7.
    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.  

  • 8.
    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.

  • 9.
    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. 

  • 10.
    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. 

  • 11.
    Silcock, Sabira
    University of Arts, Crafts and Design, Department of Crafts (KHV), Ädellab (Jewellery and Corpus).
    Can you Handle this?2018Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    Over the course of a day we meet countless materials and objects but rarely consider these surfaces of negotiation within the everyday environment. If we consider gestures as a language, then the actions we perform and the surfaces we encounter result in conversations with our surroundings. Where body meets details inside architecture, the commonplace ritual occurs.

    I will discuss the importance of touch in response to my finished work in Can you Handle this? but also during the making process.

  • 12.
    Westergren, Gisela
    University of Arts, Crafts and Design, Department of Crafts (KHV), Ädellab (Jewellery and Corpus).
    Om jag inte kan göra nog så gör jag istället ingenting2018Independent thesis Basic level (degree of Bachelor of Fine Arts), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    It`s blameful to do nothing. You should catch the day and its possibilities. Every second, minute and day, you have the potential to be constantly productive. Do not lose a second of time that you can use to create an imprint of your existence. Do not waste your time when you have the opportunity to create something measurably valuable. Soon you are gone and the competition is great.

    Doing nothing is a task that fewer and fewer are devoted to, to a lesser extent. We are expected to always be accessible and keep up to date with what is happening around us. There is a constant occupation of our sense of mind, thoughtfulness and rest is unprioritized. We try to maximize the part of our time when we are productive and active to absurdity. The goal seems to make as big imprint of our existence as possible. Fast and more is applauded until the day we burn ourselves out.

    In my work, I investigate passivity as backlash in a faster world, in a world where focus is on production, efficiency and results. A world where everything worth valuing is measurable. What is really a desired result and is it always possible to measure? Who really gets that gain from our fast life? Can passivity and slowness act as an activist act? Can one passively create something measurable? Is burning time perhaps our time´s most provocative act? With my work, I want to question my constant bad conscience about being insufficient and my feeling of not doing enough. If I can´t do enough, I do nothing instead.

  • 13.
    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.

  • 14.
    Zhang, Qingqing
    University of Arts, Crafts and Design, Department of Crafts (KHV), Ädellab (Jewellery and Corpus).
    Amid otherworld stages2018Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    Where does the soul go after death? This question is based on my ‘fear of ghosts’ and became the starting point of my degree project, which most obviously stems from our fear of the unknown.

     

    In the age of technology, many people claim that they are atheists and think that everything has or will have a physical explanation. But the fact is that definitions of reality are always provisional. We can only have an imaginary concept of this mysterious land and open up to all possibilities of the afterlife.

    This project include ideas from mesmerism and use substitutes to represent paranormal ectoplasm in order to materialise immaterial ghosts. The installation represents scientific experiments by including laboratory features. I intend to discuss contemporary attitudes to the afterlife. 

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