thoughts and reflections


When we use the expression function, we mostly relate it to the practical use and ergonomical aspects in an object, at least this has been very strong in the Swedish tradition.The function in an object could like as well be defined out from social, communicative, cultural aspects. Entertainer/container is playing with the concept of function out from a moral way, to look upon it that has been used in the scandinavian functionalism.  With tentacles pulled out in entertainerposition, the vessel is open to be filled of something else. With tentacles pulled in , in containerposition, it is beholding only itself. Then it becomes a totally selfreflecting objekt discussing what is possible to call a functional object.Is it possible to anyhow describe this as a functionalobject relating to the modernistic, functionalistic way to look upon it? One important functional aspect in this object is of course the possibility, that is offered to the user, to change the object through pulling the tentacles in and out.


What usually helps us to understand an object and how it is supposed to be used are the signals the functional details send us: handles, spouts and so on. In this jug the handle comes from inside the object, where the liquid is, and not as is usually the case, from the outside, the surface. Past experience tells us that the handle is more likely to be a spout. This is also reinforced by the fact that the handle consists of a tube. On the other hand, we also see a small spout fastened on the outside of the jug. The confusion this produces might hopefully lead the observer to closer investigation of the object and the way it is  meant to be used. The bottom of the object is, as in most of my objects, important in understanding of the object in its entirety.With this I want to avoid a hierarchical division of an object into bottom, inside , outside and so on


When we look at a table it is mainly the surface we pay attention to and value. The surface chiefly derives its value from of its ‘support’ of other objects. This jug has reached another agreement with the table: instead standing on the surface, it has grabbed the edge. And so our eyes are forced to look at the encounter between jug and table in a new way, which also makes us aware of the edge of the table and not only the surface That is actually the part of table with the most important functional meaning. The hierarchies that build up the way we look at things have, hopefully, in this way been ‘deconstructed’. And so we might also see the table more as a whole object and part of the environment – not classified according to a hierarchic way of looking at things.


The way liquid relates to a vessel creates conditions for interesting ways of thinking. The vessel, you could say, is described by the liquid pouring through it. Poured into it through its opening, held by the vessel until it is poured out through its outflow, into perhaps another vessel.  This movement of liquid describes a direction in the space where the liquid, the vessel and the user all cooperate and create a sort of everyday choreography.

A lake could also be described as a vessel. Depending on how it is positioned in relation to ground level, water pours into it or flows out of it , mostly both. This jug investigates the pouring movement out of those thoughts about the lake. If you hold the silicone spout over a glass or a cup, no liquid will emerge as long as you hold the jug beneath the level of the cup. When you lift the jug the liquid starts to flow more, depending on how high you lift it.


The law of gravity causes all materia constantly to strive towards centre of the earth. On this journey the materia is meeting other materia, sometimes defined as artefacts. In this meeting objects creates conditions for each others existence. A table needs the floor for not keep on falling, the floor needs a house construction to be a functional floor, the house needs the ground and so on. Without this relationship them between everything would have been in complete chaos. In the piece Panic a jug has been falling from somewhere above on the surface of a table. In this new position the jug realised that it needs a handle and a leg. In panic the jug has, without further consideration, cut off two legs from the table to make itself those functional items. Of course an completely vain and a short-term solution while the table then is not longer offering a stable fundament



The way the liquid passes through a vessel ‘describes’, as I mentioned before, a direction in space, where pouring in, containing and pouring out are different stages in that description. The relation between the inner space, represented by the inside of the vessel, and the outer space is one of the central conceptions in corpus art. The ordinary jug – we have been learned to recognize – is acting out from its inner body. This object is a shadow of that description and is turns the direction more into itself. It becomes an inverted space


The modernist,functionalist bondage that shaped the way design in Sweden was looked at during the 20th century was characterized by authority: the intention being to teach the working classes what was good taste and what would give them a happier life.This approach to power and instructing lower classes as to what is good for them was a contradiction of the movement of democracy, which in Sweden at least we wished to associate with the modern movement during the 20th century. During this period the silversmithing assumed an important place in the development of Industrial Design.Apart from silver, another material of importance for the Scandinavian modernistic identity was birch wood. In my object ”Håll Sverige rent” (Keep Sweden clean) I have used the birch unrefined, thus producing an association relating more to firewood – so simply cut sticks. The container itself is just a plastic bag, of no value, while the whole silver construction around it elevates the object to a substantially higher level on our valuation scale. This item relates to a discussion about values and changingvalues (also changing meanings in language) From this point of view, the function: a container for food remains emerged, as did the title. The title and the logotype I have borrowed from a Swedish campaign aimed, since the 1970s, at stopping us from throwing garbage away in the naturalsurroundings.  However this motto ”Keep Sweden clean” no longer sounds the same to us as it did during the 70s, since, in the 80s and 90s, racist movements came about, exhorting”Keep Sweden Swedish” and so on. These movements sometimes related to similar values in Swedish nature (as something natural) as the modernists did before them. This linguistic change has developed in parallel with the changed attitude to the good will which characterized the proponents of taste who tried to give the working class a better life, by means of ”good taste.


When a jug is poured, a direction is illustrated within the room. The stream created in the act of pouring, also depicts an inner room–one that we cannot always see, but which is clearly made present to us. The liquid is an integral part of a transformation process between the inner room and the outer room. In this jug, the liquid is enclosed within the form that hangs under the steel table. That, in turn, is conjoined with an enamel cup that rests upon the table’s surface. The form beneath is the jug’s well, and the cup above is a conduit through which the liquid flows out, as opposed to a container in which liquid can flow into. This displacement of what an object represents gives new metaphorical meanings to the different sections of the jug


This object shifts the direction and alters the time continuum that an object in use illustrates in a room. The goblet falls down against a mirror–one that resembles a pool of spilled water. Here the pool offers the viewer an expectation of a future event. As such, the mirror reflects, in a symbolic sense, something which has already occurred. This piece simultaneously exists in parallel points of time.


Pitch is a material and tool, that in the silversmithing tradition, is used to form and decorate a surface. It stands for change.  In this piece, pitch has been used to form a vessel to resemble a speech or thought bubble. It then runs out of the bottom of the vessel and fills the rectangular box beneath. This pitch poses a threat to the rectangular box, as it has the power and potential to change and transform.


This is a mental biotope. The bowl rests, in wait of being filled. A cloud hovers above; containing what is needed to fulfill the bowl. This is a self-reflecting piece that speaks about who you are, and who you become. Based on images, through their portrayal and the expectations they manifest, your identity is created. In this constant self-reflecting state, the object becomes trapped within itself, without the possibility of release