CAMILLA ARNBERT – SURFACED PRINT
I am fascinated by methods where the process is allowed to make a clear mark on the result. By exposing heat-sensitive materials to a printing technique involving high temperatures, I’ve explored the relationship between texture, print motif and movement.
Carnaby Street meets Seventies punk cheque and grunge in a dystopian story of reality and dreams. Up close the surfaces prove to be misleading, trompe l’oeil effects that take one’s thoughts to the fake news culture of our age: nothing is ever what it seems.
KARIN ANDERSSON & JOHANNA BRATEL – VÄNSKAPSTORGET
Friendship Square in Folkets Park in Malmö, an activity space for teenagers, is the result of a collaborative design process. Our ambition was to give young people a voice, and to create a welcoming, inclusive meeting-place that young people in the city can feel ownership of and want to spend time at.
In an age where the public space is changing, new ideas and new practices are needed, and this has brought about a stronger focus on citizen dialogue and processes. Friendship Square is one of the more successful examples we have seen.
ELIAS BÅTH – DÖD MARK
From the lime kilns of Smedjebacken to the mines of Kiruna, I have explored some of Sweden’s most energy-demanding industries and their waste materials. Made out of slag (the unwanted product) and steel (the wanted product), the table is a diagram which highlights the problem.
Is slag the new black? Dead Ground takes us on a journey deep down into the bedrock, and highlights several major questions: about the finiteness of natural resources, the depletion of the countryside, and about an age in which the design industry needs think along new lines.
MATTIS DALLMANN – WITH / OUT
This project explores modern definitions of masculinity in fashion. The body is often secondary when it comes to the male silhouette. I have challenged this by creating an extra body, printed on organza and placed on top of archetypical men’s clothes.
Materiality that strives to capture the image we project of the physical body, and that doesn’t quite fit into the tailored man’s uniform. It’s a tender, close-up portrait of masculinity through the ages, a digital shroud for the outdated male role.
EVELINA DOVSTEN – EVERY SAMPLING IS A TESTIMONY
These glass assemblies have come to portray me and my creation’s dialogue to talk about the subjective. Inspired by Juhani Pallasmaa, who says that objects/architecture created by people are a manifestation of their inner world.
The repetitive process is the actual point, where one work follows the other. Every Sampling is a Testimony is a beautiful story about communicating knowledge and power – and a fine example of making improvisation and loss of control into an artistic strategy.
EMILIA ELFVIK – PUSHING EMBROIDERY
I’m driven by curiosity about the complex properties of textile materials. Pushing Embroidery is a series of sculptural objects in flax which looks into the idea of embroidery as form, the aim being to challenge our conceptions about what embroidery can be.
Craftsmanship in copious amounts, and above all a type of embroidery we have not seen before. The materials are beautiful, the forms anthropomorphic and the method itself brand new, with gravity as the designer: it’s the law of gravity that creates the shape, when the work collapses.
JESPER ERIKSSON – COAL: POST-FUEL
With this project, I endeavour to re-evaluate our relationship with coal. From the cheap, environmentally hazardous fuel of today, its value and importance are now being turned upside-down by inviting the fossil substance into our homes and material culture.
Poetic allegory, where the mirror-like surface illustrates the boundary of what is above and what is below the ground. We see how a material which represents the folly of our age as regards polluting the planet is re-evaluated: coal brings more benefit in the white cube of the design world.
SOFIA ERIKSSON – BODYBUILDING MIRRORS
Bodybuilding Mirrors is a play on the corporeal. I want to lure the viewer to come close, to meet infinite variations of their body in the reflection. In the shiny metal a new shape takes form, where reality and illusion are blurred.
A strong piece of craftsmanship that reflects a contemporary age where we see ourselves through digital filters and change appearance, at the same speed we used to flick through TV channels. A new kind of narcissism is emerging, a dysmorphic age of blurred boundaries between reality and unreality.
SARA-LOVISE ASK EWERTSON – PUFFER-JACKET-SOFT-SQUAD, PURE SCULPTURE!
With this piece of furniture, I want to question how fashion can be perceived. I have focused on the winter jacket together with the interior of the future showroom. Most of the textile parts can also be worn on the body, like an idea of what a winter jacket can be.
The project that ponders the question of the future of the retail store, the death of the mall and the new consumption patterns that are taking shape. It takes up the challenge in a thought-provoking work that explores the boundaries between experience and furniture, body and clothing.
LEO FIDJELAND & LINNEA VÅGLUND – PINK CHICKEN PROJECT
Pink Chicken Project proposes genetically modifying all chickens in the world to have pink bones and feathers, using a novel biotechnology called “CRISPR Gene Drive”. This intervention, somewhere between utopia and dystopia, would modify the geological trace of humankind – colouring it pink! (Portrait photo: Sara Kollberg)
Skilfully made, speculative design that does the job. It makes us raise our eyes, alter perspectives and fantasise about other futures in an unimaginably long time frame. Do we really want to end up as pink sediment? Pink Chicken looks death in the eye, but with a smile.
ERIKA GEIGER OHLIN – UNCANNY TRACES
(LAMMHULTS MÖBEL SCHOLAR)
I have made objects from waste leather from the furniture industry. It used to be skin on a living animal – how do we value that as a material? Through my design method, double negative, I make use of the waste and provoke thoughts about use and consumption.
Rather than adapting the cow’s body to the furniture, Uncanny Traces does the opposite and makes the invisible visible, the residues that are otherwise left on the tannery floor. The result is a special forced design language, one that’s unexpectedly inviting: sitting comfortable in the cow’s embrace.
GUSTAF HELSING – ANXIOUS RUGS
I have woven rugs based on anxiety as something worth striving for. On nostalgia, speed, function and masculinity. In polypropylene, cotton rags, sisal and wool. Rugs that are large to make an impression, but are ashamed of it!
It takes up a lot of space in the room, while it’s also ashamed of doing so. The Anxious Rugs tell an endearing story of the male role in a woven piece that is not only about the end result, but also the attitude.
COBY HUANG – R.O.S.P – RITUAL OF SEXUAL PLEASURE
Sex is a subject we learn far too little about. I have therefore developed a series of sex education tools that can be used to learn about and explore your body. My aim is for the objects to invite discussion and exploration relating to the body and sexual health.
The womb is anything but done with in the world of design. Ritual of Sexual Pleasure gives us smartly designed tools for yet another women’s issue that has been made invisible: the orgasm. The panel would particularly like to praise the user-friendliness and the well-executed methodology.
ANNAMIA LINDBLOM – I CAME, I SAW, I SEWED
This is a design proposal for a technical landscaping project, where I’ve used embroidery as a method of expressing various planting solutions. The aesthetic method shows more dimensions of landscape architecture and complements digital drawings.
An almost anti-digital project that encompasses the time it takes to embroider, in contrast with modern reality in the architecture sector where everything is done on computers. The embroidery creates other, more wondrous ways – it is allowed to be slow and thereby creates space for reflection.
LISA LINDH & KLARA W. HEDENGREN – KOLONN
Kolonn is the form we are missing, an object on the border between sculpture, furniture and space. It can both create new spaces, and screen off with its flexible body. In its striving for simplicity, it is comprised of just two materials: wood and metal. (product photo: Stellan Herner, portrait photo: Jennie Adén)
An experiment with light and tactility, space and design idiom. But also a flexible reinterpretation of sustainability as a concept, with unexpected references to both classical and contemporary art and design – from the Greek column to Alvar Aalto and Louise Bourgeois.
NILS LILJA & MARCELO ROVIRA TORRES – NO COMPOSITION
Exhibition design based on the ability of skateboard culture to reinterpret the city. By linking together existing, mass-produced objects with parts we made ourselves, we have invented flexible modules that make the exhibition mobile and interactive.
The skater culture makes a laudable comeback in the city, with design going back to its creative roots. In No Composition, it’s the subculture itself that informs the shape, in an affirmation of the changing nature of the public space.
JULIA OLANDERS – BETWEENNESS
Betweenness are vessels made out of plaster and insulation foam. These hidden building materials are cast in sewn fabric moulds, which are then removed. By working with dualities, the onlooker is challenged to think about what surrounds us: the norms connected to our bodies, to materials, to spaces and genders.
Objects that challenge truths about beautiful and ugly, prototype and product, traditional and innovative. Betweenness is neither or both, original forms that can be interpreted as our age’s version of ancient marble statues – made to wither in just a few months.
ERIK OLSSON – BOJSKAUT
I’m looking into opportunities for bringing together aesthetic expressions with practical functionality. Will future fashions need to protect us from external pollutants? Even today people use face masks in big cities due to polluted air. The masks become a part of everyday life.
Armour for the ultimate time, where the security we have taken for granted is no longer a given. Bojskaut creates an unimagined bridge between two eras: photographer Jean Hermanson’s old industrial society and the time that has yet to be: the apocalyptic future.
MATTIAS PETTERSSON – ALIEN WORRIOR PRINCESS
Dragons, weapons, spaceships, aliens, fire, monsters, dangerous animals. They’ve never interested me. Through ceramic sculpture I meet the man in me, the way society has always wanted me to. But this time from a queer place, on my own terms.
What could the male role be boiled down to, if not a little dinosaur on a totem pole? We see inside a boy’s room peopled by monstrous reptilians, but also by elusive emotional expressions such as anxiety, awkwardness and vulnerability.
TILDA RAGNARTZ – HOT MOVIE NEW POPULAR FULLHD
Unicorn Slippers, Fuzzy Socks, Rainbow Showers and Lollipop Slime. Hot Movie New Popular FullHD (2019) is a visual study of how global online trading platforms speak to us, get to know us and drive us to consumption.
Welcome to the last gasp of capitalism, a hedonistic garbage fest! The planet is covered in rectangular screens and we’re wading in worthless products, the natural resources of the new age, mined from the internet. A work that follows in the footsteps of artists such as Jenny Holzer and Barbara Kruger, but with its own, distinct imagery.
KAJSA SAMUELSSON – BEGINNING MIDDLE AND
My work comprises a textile installation in a vat-dyed silk and cotton blend. The work is part of a larger project where I looked at the relationship between textile and pattern, and how a textile philosophy can influence my artistic practice.
Ambitious, well-considered and seemingly simple, with impressive precision in the scale. We recognise the pattern from the traditional tea towel, an everyday phenomenon that has been magnified for the public space into a monumental manifestation.
KITTY SCHUMACHER – DESIRE_LINES
The work is a 3D-animated video installation which maps and questions our cultural perception of sexual orientation. Characters, objects and the voiceover are taken from digital services, which have then been adapted and recontextualised. Audio Composer: Adele Kosman.
Queer film that invites reflection. Before us, a suggestive symphony is under way which urges us to stop our mechanistic thinking. The perspectives are reversed: the limelight is on the normative, rather than vice versa.
MATILDA ELLOW – SELF TITLED
I wanted to explore narcissism, identity and anonymity in branding and design, to understand how significant brands and their communities are to our individuality. That resulted in three vases in sand-cast aluminium and cast polyester. (Product photo: Klara Forsman)
Could this be the final extravagant manifestation of the consumer society? Post-ironic comment in a debate that has come to be more relevant than ever, about the personal brand. Self Titled is a bold attempt at physical portrayal of this abstract theme, in an enthralling game with the dimensions.
MATTIAS SELLDÉN – MIX SUSHI
Mix Sushi is a series of furniture based on materials and crafts. By using the inherent contours of the wood, I can use a simple design language to create both unique and seemingly complex objects.
Here the craftsman’s inventiveness is to be lauded, in the crossover between material rawness and a sophisticated, plastic feeling. Mix Sushi is fundamentally a simple piece of furniture that encompasses a lot – both traditional craftsmanship and new ideas about what a surface can be.
OSCAR WALL – RYA CHAIR
Rya Chair was born out of my graduation project and is a part of my Ryamöbler collection. I explored how the technique of tufting can be applied to wooden furniture. I want the tufting to add soft surfaces and shapes to ornament the hard, right-angled wooden skeleton.
Is it a rya rug, a piece of furniture, or a piece of rya furniture? The obsolete rya rug is given new life by being made three-dimensional and shaping itself to the bearing wooden construction, in a revolutionary reinterpretation of the design idiom of the classic loom.