Labor Of Grief

2019 FRANZ Rising Star Project

Decoration

DESIGNER

Emmeli Rolleberg

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Name & Concept of Artwork 作品名稱與設計理念

Category 作品屬性:

擺飾

Concept of artwork 設計理念:

Labor of grief is an exploration of different emotions connected to grief and loss. I see the project as a ceramic processing of grief, where the urn becomes a container for the feelings I no longer have the ability to bear. Feelings I want to bury, but also preserve. When we lose someone, we are forced to reconstruct ourselves. During this process, we are intensely engaged in questions about the meaning of life, God and death. Elements that are important to me is the rope, dandilions and the color blue. The rope holds together, but it can also be a forced feeling, a tight rope that constrain us. Like the umbilical cord that gives life, but wrapped around the neck it can end it. Dandilions that grow under any conditions, and the color blue that for me symbolises reflection, but also it makes me think of penance and inner search. In the christian church blue is the liturgical color for the virgin mother Mary, which resonates with me since I recently became a mother. This might seem conflicting, the joy of becoming a mother, and works with grief and death, but death is something that's always present in my life, and its not always dark, it can also be a possibility of change.

設計細節

作品材質,陶瓷比例佔:

100%

作品包含其他材質:

長度 (cm):

38

寬度(cm):

20

高度 (cm):

38

淨重 (g):

4000

其他說明:

My project is a collection of urns that are al a bit different in size, but I have listed the dimensions of the largest vessel.

设计思维和理念,兼具新的视觉欣赏功能,除了质感以及装饰效果极佳,在技术上也无可挑剔。

高鵬 Peng Gao

Director of Today Art Museum
今日美術館館長

Interesting pieces and a well described and provocative concept.

Christopher McHugh

Course Director of Ulster University BA Hons Ceramics, Jewellery & Silversmithing
北愛爾蘭阿爾斯特大學陶瓷、珠寶與銀器學系系主任 〈譯〉

Totally different approaching the Theme

Wilhelm Siemen

Director of Porzellanikon
Staatliches Museum für Porzellan
德國賽爾布陶瓷博物館館長 〈譯〉

A strong concept, communicated clearly resulting in a beatiful and poignant object

Anthony Quinn

Subject Leader Ceramics, Course Leader BA Ceramic Design,
Central Saint Martins
倫敦藝術大學 中央聖馬丁藝術與設計學院 陶瓷系主任〈譯〉

Aesthetics: This collection of work in it's aesthetic is good. The largest urn I feel is the best work in the collection, the matte knots feel strong and yet with a soft surface. Innovation: This body of work is unique in its conceptualisation and making as it is so strongly connected with the makers experience in life. Concept: The concept is emotive, however I feel it could be more clearly communicated to the reader. The suggestion of loss is clear through the use of the urn and the knot communicates a struggle or a challenge while the colour blue suggests sadness. The dandelion bursting from the vessel feels quite strong, a plant that grows anywhere, still with its own beauty, yet it's still named a weed. Craftsmanship: the work appears to be well made. The largest urn appears to be the best made. The dandelion forms could have been made with a more delicate nature, however, perhaps a bolder and more graphic form was intended.

Rhiannon Ewing-James

Creative Producer of British Ceramics Biennial
英國陶瓷雙年展創意總監〈譯〉

interesting idea

Felicity Aylieff

Senior Tutor Research of Royal College of Art
英國皇家藝術學院資深教授、研究員〈譯〉

good craftmanship

Kwanho Woo

Professor, Hongik University
韓國弘益大學陶藝研究所所長〈譯〉

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