Hanna Liljenberg is not only one of my closest friends – our work also has many connections; repetitions, organic shapes and slow growing structures. The jewelry grows bit by bit. Paper pieces are folded and glued, plastic scales are mangled and stitched, but the lowest common denominator is probably the scissors and all the cuts.

In the beginning of October 2019 Hanna and I jumped on a train to Stockholm to set up an exhibition at Platina. Sofia Björkman, manager of the gallery, has recently moved in together with Helena Skolling at Bondegatan and we were very happy to get to make the show together with these two lovely ladies.

Hanna Liljenberg, Sofia Björkman and me. Photo by Jason Andersson

Within, brooch by Hanna Liljenberg
Paper, acrylic paint, lacquer, silver, steel

Hanna showed her newest body of work – Within. She describes it as an out-of-body flora expressed in jewellery and drawings. She often use scissors or knives that give the work sharpness and directness, but pens and brushes are also important tools. She sees the jewellery as an organic vegetation, and the carbon drawings she works with in parallel become an extension of the wearer. Hanna is interested in the body’s physics, problems and radiance, and she has explored the dynamics between the human body and the jewellery.

Possunt Oleum I, brooch by Karin Roy Andersson
Recycled plastics (rapeseed oil can), thread, steel

I showed my plastic work. Two of the brooches were made of a rapeseed oil can that caused me some problems. When I was just about to finish the pieces I realised that I lacked material to make the final scales. I went out searching for this kind of can and I think I visited more than 15 fast food restaurants but they all had the wrong colour. A few times I took them anyway just because I didn’t want to disappoint the people who often were really happy to help. I also got a friend in Surte to go and visit the producer of the oil who had told me over the phone that he had some damaged cans for me. But it turned out these were not exactly the right ones either. In the end I looked through all my scales and found some from the right can that I had saved.

Fossils IX, 2019, brooch by Karin Roy Andersson
Recycled plastics (cookie boxes), thread, steel

In my latest pieces I have started to sew the scales in a new way. The shape reminds me of fossils and this got me thinking about what in our time will be saved and in what shape it will be passed on to the future? For example, what will happen to all plastic and garbage? What will future fossils look like?

Photo by Jason Andersson

Hanna Liljenberg, Sofia Björkman and me

The opening and the artist talk we made two days after took place during Stockholm Craft Week, an event including exhibitions, lectures and other things connected to art and craft. It was a fantastic program super nicely arranged by KHVC and I think we are all hoping for a new edition in 2020!

Breakfast mingel at KHVC where Matilda Kästel had curated a “show wall” presenting work by Malin Grumstedt, Emma Linde, Sven-Åke Risfjäll, Elin Flognman, Erika Kristoffersson Bredberg, Sara Borgegård Älgå, AnnLouise Roman, Ea Ten Kate, Linn Sjöstedt, Lisa Wallert and me.