Architerior talked to glass artist Kristin Larsson whose glittering pieces have taken the Stockholm art world by storm. Her recent exhibition Pica Pica presented a wide selection of magical artworks that drew crowds to the glass art specialized Galleri Glas. One stunning piece from the exhibition is now part of Architerior Collection, making it especially thrilling to share Kristin’s work and story. In this interview Kristin Larsson gives us an insight into her artistry and creative journey. Glass is such an interesting material and Kristin is not afraid to try experimental combinations using metals and organic materials. These contemporary fossils or treasures are outer worldly and simply magical.
Kristin, how did you find your way into art?
A glass studio opened close to where I grew up. I was fascinated by the craft and asked to become an apprentice and summer worker when I was fourteen years old. I was hooked by the material and have worked with it since.
Was education in art a part of your journey to become an artist?
You can say I’ve had two education periods. First I was very focused on learning the craft of glassblowing and I attended school in south of Sweden to do so. To learn glassblowing repetition is crucial so I worked for various glassblowers around the world for about five years after my education. Later on I did a Bachelor and a Master at Konstfack university in Stockholm to learn how to interpret my material knowledge into more conceptual works.
What techniques do you use?
I mix classic glassblowing techniques with cast pewter, copper and bronze.
How would you define your art style?
My art is material investigations playing with geological aesthetics as I make fake naturalia and treasures that look like as if they are sprung from inner earth, the bottom of the sea or space.
Has your style or technique changed over time?
Yes, when I started Konstfack I was trained in traditional glassblowing techniques and I was a bit bored with these so I started experimenting with new materials like copper and pewter. This was an opening for me to work more experimental and conceptional.
If you had to summarize your art in three words, what would they be?
Material experimental, playful and glittery.
Which artists or art styles have inspired you?
I’m mostly inspired by natural and geological phenomena in my art but groundbreaking women in the glass society like Åsa Jungnelius and Ulla Forsell are huge inspirations.
Is there something in particular that you wish to convey to the viewer through your work?
I usually use a historic perspective to understand the contemporary world we live in. I’m interested in, and inspired by, archeological and natural historical findings that make us reflect upon our short existence on earth and the traces we leave behind, and how those traces will be understood by later generations.
When starting on a new artwork, what goes through your head? How does your planning and creation process look like?
It usually starts with the material I have in hand. I love to go scavenge hunting in the scrapyard looking for old objects in pewter or copper. I want to bring new life to these things by remelting or manipulating them into contemporary fossils or (un)natural findings.
What are you working on right now?
I’m making blow molds out of an alder tree on free hand using an angle grinder. I want to make fossil and shell-like shapes that look puffed up and distorted.
How has Covid-19 affected you as an artist?
I had three or four shows during 2020 that either got cancelled or postponed, it has been very discouraging.
Inspiration is important when creating, where do you find inspiration?
I love going to museums for inspiration, my all time favorite is The Natural History Museum in London. Nordiska Museet in Stockholm is also great.
Is there any artwork that you’ve created that is extra significant to you?
My bachelor work “The Hybrids” opened up a whole new method for me to work. I changed the way I work with glass from a classic craft perspective to celebrate the material itself and all of its qualities and properties.
How do you define “good” art?
I don’t think I can. Art could be anything, but I guess when the artists thoughts are successfully conveyed into material practice it’s “good”.
What are the best things about being an artist?
The freedom of being your own boss, to work creatively and being able to express myself.
What are the worst things about being an artist?
Constantly being poor, not being able to take a loan and the financial insecurity always hanging over you. To always have to hunt for the next thing, never ending applications and a lot of rejection. To always have to explain in detail how long an artwork took to make to somehow justify why it is “expensive”.
What does it mean to you to be able to work with art?
I see it as a huge privilege to be able to work with my art and I’m thankful to have a voice in this weird and harsh industry.
In ten years time, where do you see yourself and your creative work?
I hope I’m able to make a living from my art, that I’m still doing what I love.
If you could go back to the beginning of your art career, what advise would you give yourself?
Relax and try to have fun.
On Instagram you can see more of glass artist Kristin Larsson’s artworks, atelier and exhibitions. Read about her artistry, CV and exhibitions on her website.
Curated Obsessions by Architerior continues on Instagram so check that out in order to be introduced to even more stunning and inspiring artists around the world, as well as interior and design that will take your breath away.
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