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Annika Pettersson

Annika Pettersson was born in Karlskrona, Sweden in 1981. She completed her MFA with distinction at Konstfack University in Stockholm, Sweden 2009. Pettersson has participated in numerous group exhibitions on an international scale. She is currently living and working in Stockholm, Sweden.

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.

One could 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.




Enchantment 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.
" I am interested in the lines connecting the chairs crucial construction points, the graceful strokes in the chairs leg, the elements that hold both strength and attraction. I am inspired by the formal tension in the connection points, the manifestation of practical solutions throughout the wooden form. Soft, warm wood is combined with sharp, cold crystals. The contemporary shapes of obsidian and rock crystal is carefully introduced into the wooden shapes. This combination is a formal investigation into the lines of movement within the piece. The shiny surface off the crystals reflects a current aesthetic in relation to the matte appearance off the wood, giving the pieces a concrete physical tension. "

 

 

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)
Inspection of the work reveals that what appear to be blooms are in reality chucks of split wood, fractured from a single piece. The pieces ask the viewer a question: How did this happen? At first it may seem an act of nature, but further inspection leads the viewer to the conclusion that this is not an act of pure phenomena, that it bears a subtle mark of the maker. In stark contrast to meticulously carved traditional woodwork, Pettersson's flowers carry with them a masculine sense of immediacy, a kind of brawniness and heft, a spontaneous recognition of creation. Perhaps this is the thread that ties together all of Petersons work, regardless of the medium. Pettersson creates a literal sympathy with pre-industrialist production by linking the maker with the material. At the same time Pettersson takes a step away from a modernist tradition of the mastery of skill; the work manifests the spirit of the proletariat balanced with the mysteries of nature. All this is done with an intended regard to contemporary culture, in the same way that memories fuse fictional sensations with a concrete reality.



 


 

 


 

 

 
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