Presentation @ Grand Hotel Stockholm

Have a look at the presentation I held at the opening day of Västerbotten @ Grand Hotel Stockholm (13 minutes – in Swedish). Some images and info about my work, 100 MIGRATORY & how it is to work world-wide as an artist from a remote mountain area of north Sweden – Tärnaby.

YouTube link here


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A greeting from Canberra and vessel no.9 with the Old Parliament House in the background in one image and outside the Embassy of Sweden in the other. When I see the colours of the grass I really long back to Australia. During my first years in Australia I thought the nature was so harsh and hard, as the nature  didn’t want us human beings around. But now, I can truly say I miss the Australian nature and that crisp blue blue sky. It is also in Canberra I have my network of friends and glass artists working in a similar way I do with Bullseye glass.

Find info about 100 MIGRATORY at the Embassy of Sweden´s webpage under news

Photo: Ulrika Gustafsson

Australia and Canberra School of Art glass workshop

Vessel no. 9/100M has arrived to Australia. You can read about it on the webpage of the Embassy of Sweden in Canberra.

I have my art degree from Canberra School of Art (glass workshop) Australian National University and it might be of some interest for current students to visit the Swedish embassy and get some info about the project and see the vessel of glass; discuss issues about the use of the form of a vessel in concetpual art (as in this global art project), about the use of glass as material, about migration or just about technique…

The vessel is made as a murrini pickup in my glass workshop and studio in Tärnaby north Sweden. The technique to pull murrini canes in Bullseye glass and make murrini pickups in the hot shop I learnt during my years of studies at Canberra School of Art in the second half of the 90´s. I can never forget the first time Giles Bettison (a student a few years ahead of me in the workshop) instructed me of how to make my first murrini pick-up. It was a very special moment and that tiny (and pretty ugly) 1st murrini pick-up is the only glass I really treasure and even have on display in our private home.

I am forever thankful to our teachers at the workshop; the warm loving artist and excellent professor Stephen Procter (who sadly passed away only a few years after my graduation), our teacher and glass artist Jane Bruce and technician and sculptor Phil Spelman. They were a great team that always questioned our choice of material and techniques at the same time they helped us sharpen our thoughts of what we really wanted to express and why.

To express what I want in my art, the school (its staff and other students) helped me discover the techniques to pull canes in Bullseye glass, to do murrini roll-ups and pick-ups in the hotshop and the skills of surface grinding and wheel cutting of the glass. Techniques all part of this vessel no. 9/100M, now on dispay at the Embassy of Sweden (reception) in Canberra, and part of this extensive art project 100 MIGRATORY.

This vessel (and images from its journey to Australia) will be returned to me in Sweden sometimes around April/May 2013. All hundered vessels and images from their journeys in the Swedish winter mountains and around the world will be part of the final exhibition at the Museum of Västerbotten Umeå Sweden January – May 2014 – the year Umeå is selected to be the European Captial of Culture.

So if you’re in Canberra now and want to have a look – visit the Embassy of Sweden.

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