Installation of Floating Fragments, table “Fridhem” in birch and limestone type Antracit Fossil and framed stone carving “Sisters on Seesaw in the Garden”.
Detail of the table “Fridhem”: table legs holding the limestone with lace tablecloths etched into the stone in a manner otherwise considered to ruin the stone.
The table rises from the Installation of Floating Fragments, as a manifestation of the tracing of the past. The new limestone type “Antracit Fossil” from the area has been market with the presence of lace tablecloths, handcrafted by friends and family of the storytelling grandmother whose memories have been interpreted.
“Sisters on Seesaw in the Garden”, stone carving in pine wood frame. The frame gives an impression of a room, as if the stone is a window with a view to the past. The historical material in the new context.
Detail of Installation of Floating Fragments, photos from Bergs Hembygdsförening, where details from the interior are cut out and lifted with pins, showing a gap along the silhouette.
Detail of the table “Fridhem”: Each table leg has its own motif from the process of tracing the past. Here a translation of a drawing of the house interior as remembered by the storytelling grandmother.
My grandmother tells me about her childhood memories from the summers at Fridhem, the home of her two grandmothers Momma and Mormor. In these stories, which took place in a rural village in Jämtland in the 1930s, the perspective of the child is preserved; the thunder rumbles louder here than anywhere else and she has never seen trees as tall since then. Her stories frame a memory, an experience, and as I listen to her stories I am drawn into her world.
My fascination for the interiority of a listening experience inspired me to examine the fragmental material of memories through design. Rather than reconstructing what once was, I strive to preserve the perceptions that the stories hold.
Min mormor berättar för mig om sina barndomsminnen från somrarna hos hennes två mormödrar Momma och Mormor. I berättelserna, som utspelar sig i en mindre by i Jämtland på 1930-talet, är barnets perspektiv bevarat: där mullrar åskan högre än någon annanstans och aldrig har hon sett så höga träd som där. Hennes berättelser gestaltar minnet, det upplevda, och när jag lyssnar till hennes berättelser förflyttas jag in i hennes värld.
I min fascination för hur en interiör lyssnarupplevelse kan vara föddes idén till att utforska hur jag kan gestalta det upplevda i form. Istället för att rekonstruera vad som varit, vill jag bevara de minnesfragment som berättelserna bär på. Min roll är att utgöra det kitt som sammanfogar fragmenten.
