Together with Adam Grinovich, she is a founding member of the experimental jewelry group A5, an artistic collaborative focused on adornment, the body, and jewelry in cultural contexts. Also, they are alongside Charles Mathis, co-founders of the design collective CRITIAL + which is an energetic design initiative with a focus on design ethics, involving young motivated individuals.
look at all of Annika Petterssons work as an entire body, a confluence
of explorations into the physical world. Every series, and each piece
illustrate a type of attempt to confront the world with a concrete set
of limitations. Pettersson creates jewelry, and according to tradition,
masters the skill of identifying and isolating preciousness in world
where much has become indistinguishable. This is done not with the tense
precision of a goldsmith, but rather with the gut reaction of a laborer.
A hunter understands the physics of his weapon only in a visceral sense,
a carpenter learns through physical repetition. This sincere understanding
is a prominent aesthetic in the work of Pettersson, where knowledge
becomes divorced from education and instead bonded to the physical activities
of everyday life. This is not to say that the work lacks a conceptual
background, each of the pieces abstracts itself by means of sensitive
composition, subtle narrative, and links to a sense of melancholic remembrance.
Petterssons work transforms everyday material into evidence, like marks
carved into stone, an indelible trace of effort and intention.
is a series that investigates the tradition of baroque shapes manipulated
by the addition contemporary glitches. The starting point is a chair the
fascination with its forms and its curves. By removing the classical ornaments
from the elegantly carved wooden forms an element of definition is removed.
In the series
"Time to Rend", Annika Pettersson adheres to traditional adornment
by utilizing a floral motif. "The beauty of flowers is said because
they are fragile and destined for death, like anything on earth, of course,
but flowers are particularly fragile. You understand all of this once
you have lived through the passing of the season, and as for the withering
of flowers" (M. Houllebecq, The map and the territory 2011)
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