Since my graduation project from 1999- 2001 in Stockholm , Sweden I have been working with ceramic ready-mades.
My MFA project, where reflecting on why I had changed my occupation. After 10 years as a builder and joiner I changed direction and started to train as a craft artist.
Questions that occupied me focused on what direction my life takes, and why, but also what new values in and around ceramic materials could I contribute and develop? These are questions that occupied my activities at the time and that still remain the core focus of my work as an artist. In my graduation project I chose not to get my fingers involved in the clay. I departed from the traditional way of using the material which is, for most ceramicists, a defining issue and which also accords with the romantic image of the artist craftsperson's approach. Instead, I chose to use a method of working that came from my time as a joiner. I started sawing in existing cups, dishes and plates that I generally bought in second-hand shops. By reassessing what I had learnt in my ceramics training I found a new language; a language that aimed at breaking down the conflicts between everyday wares and elevated (fine) artefacts and even between unique objects and mass-produced ones.
This way of working was not just a matter of struggling with myself and my training but it also questioned the nature of what crafts can be. Dealing with issues such as society and eternity, individual and moment. These terms may sound rather grandiose but my approach has to do with attitudes to work and to human existence.
I working mainly with second-hand items, objects that are marked by time and that are often anonymous, mass-produced wares. Items that have moved between and beyond geographical and cultural limits. The everyday things.