Born 1966 in Sundsvall, Sweden
Lives and work in Gothenburg Sweden since 1986
B.F.A and M.F.A at HDK, School of Design and Craft, Gothenburg University 1998 – 2003
http://www.paula-lindblom.blogspot.com/
Contact;
prylpaula@hotmail.com
Educations
Gestaltnings processer Kultur AF (13 v). Göteborg 2006
Datautbildning Kultur AF./ Computor course ( 8 v ). Göteborg 2005
Högskolan för Design och Konsthantverk
School of Design and Crafts Göteborg 2001 – 03
Sommarkurs HDK / Summercourse (4 p). Göteborg 2000
Högskolan för Design och Konsthantverk
School of Design and Crafts Göteborg 1998 – 01
KV Konstintensiven / Art school ( hösttermin / 1 semester). Göteborg 1997
KV Konstskola / Art school Göteborg 1996 – 97
Stenebyskolan. Silversmide / Silversmithing Dals Långed 1995 – 96
Viskadalens Fhs. Fritidsledarutb. / Youthworker Borås 1987 – 89
Hola Fhs. Medieutb. ( 3 mån ). Kramfors 1985
Konst och miljöskolan. / Art school Sundsvall 1984 – 85
Exhibitions
The coolest corner, Nordic contemporary jewellery art 2015
Galleri Konstepidemin13 FESTIVALEN, Performance Gothenburg, Sweden 2015
Det var en gång - Once upon a time, Kulturnatt Kvarnbyn 2014
The coolest corner, Nordic contemporary jewellery art 2013-2015
Galleri Sintra - window Gothenburg, Sweden 2012
Together with Eva Zethraeus
Galleri Koch Stenungsund Sweden 2011
Vidöppet Alingsås Konsthall Sweden 2011
Hnoss-extended Gothenburg, Sweden 2010
Galleri Sintra - window Gothenburg, Sweden 2010
Galleri Platina Stockholm, Sweden 2009 - 10
KORU3 Imatra, Finland 2009
Galleri Vesslerna Trollhättan, Sweden 2008
Galleri hnoss, mini-mini exhibition Gothenburg, Sweden 2007
Galeria Bielak Krakow, Poland 2007
Nääs Konsthantverk Floda, Sweden 2007
Konst Risten Oslo, Norway 2007
Ädeldog/Norrmalmstorg Stockholm, Sweden 2004
Municipal Museum of Roermond the Netherlands 2003 – 04
Platina. Master graduate show Stockholm, Sweden 2003
Midora Fair Leipzig. Germany 2003
Galerie Marzee. Master graduate show, the Netherlands 2003
Röhsska museet. Master graduate show Gothenburg, Sweden 2003
Solo exhibitions
Galleri Jänis Turku, Finland 2012
Galleri Sintra Gothenburg, Sweden 2012
Galleri Åtta Sundsvall, Sweden 2010
Galleri Kaustik Gothenburg, Sweden 2008
Pärla Stockholm, Sweden 2006
Dreja Gothenburg, Sweden 2004
Scholarship
Estrid Ericson scholarship fund 2003-04-05-07-09-13
Slöjdföreningens scholarship fund 2003
Estrid Ericson scholarship fund 2000
Adlerbertska student accommodation fund 2000
August Rigner scholarship fund 2000
Workshops
Now Roots, Ruudt Peters, Ravenstien, the Netherlands 2013
KORU 3 Constanze Schreiber Imatra, Finland 2009
Taking parts. Karin Seufert Konstepidemin, Gothenburg, Sweden 2008
Idea of Identity, Manon van Kouswijk, Suska Mackert Konstfack, Stockholm, Sweden. 2005
Ädeldog, Ruudt Peters Konstfack ,Stockholm, Sweden. 2004
Now Chaos, Ruudt Peters Ravenstein, the Netherlands 2004
Membership
KHVC (Konsthantverkscentrum)
The Crafts Centre is the guide to contemporary craft and applied arts in Sweden.
http://www.konsthantverk.info/
Klimt02
http://www.klimt02.net/jewellers/index.php?item_id=25056
BUS
http://www.bus.se/
Visual Arts Copyright Society
in Sweden - The purpose of our organisation
BUS operates under
the copyright legislation and helps develop these legislations for the benefit
of its members. Our objective is to ensure that the creator of an original
artwork receives a remuneration when his/her work is used in different media.
But there is much
more involved than this. We check to see if our member's work of art has been
used in any way, assess if a remuneration is to be paid and if so, what this
ought to be. We also collect any due payments and transfer them to the rightful
recipient. In addition to this we grant authorization, draw up a contract and
make sure that the name of the original artist is mentioned
accordingly. We take care of all those important details when your work is
submitted in any way for public use.
KIF
http://www.kro.se/1013
The
Artists Organisation, KRO, and the Craftsmen and Designers' Organisation,
KIF, share office.
Others
On – line project: “the consumer society”. 2005 - 07
http://www.jewelleryproject.blogspot.com/
Other exhibitions
Soc. Art konstlotteri Sundsvall, Sweden 2005
Amberif Fair. Slideshow Gdansk. Poland 2003
Skara Hantverksmuseum. Christmas exhibition Skara, Sweden 2002
Värmlands Konsthantverkare ” den magiska ringen”- ” the magic ring” Karlstad, Sweden 2002
Kulturhuset Blå Stället – Angered, Gothenburg, Sweden 2002
Soc. Art konstlotteri Sundsvall, Sweden 2002
Kulturhuset Blå Stället – Angered, Gothenburg, Sweden 2002
Galleri Egoisten Uddevalla, Sweden 2001
Röhsska museet. Part of the jewellery triennal Gothenburg, Sweden 2001
Signerat Silver. Bachlor graduate show Stockholm, Sweden 2001
Konstepidemin. Bachlor graduate show Gothenburg, Sweden 2001
”Statist” in Mona Wallströms film – Ad Ora! Gothenburg, Sweden 2000
Röhsska museet – caféet ( foton fr Japan ). Gothenburg, Sweden 2000
Mobil exhibition in parts of Gothenburg, Sweden 2000
Hiko Mizuno college of jewelry Shibuya Tokyo. Japan 2000
Itami- International exhibition Itami. Japan 1999
Galleri Grön Gothenburg, Sweden 1999
Göteborgs Konstlotteri Gothenburg, Sweden 1999
Galleri Aurum Gothenburg, Sweden1999
Frölunda Kulturhus Gothenburg, Sweden 1998
Represent in
Represented at Röhsska museum 2014
Two pieces that is in the coolest corner exhibition are bought by the museum.
Behind the brooch:A Closer look at the Backs, Catches, and Pin Stems. 2014
By Lorena Angulo.
Jewelry from found objects - 2011
By Heather Skowood.Noovo - jewellery
http://www.noovoeditions.com/NOOVO/indexnoovo.html
Mixed-media Jewellery: Methods and Techniques (Design and Make) -2009
By Joanne Haywood.
247 Swedish craft artists -2008
By KHVC
International Contemporary Jewellery KORU3 -2009
By Saimaa
Bachelor of Fine Art – 2001.
SOUVENIR - MINNESGÅVA
På mitt eget sätt reflektera och i smyckeform gestalta min känsla av souvenir – minnesgåva. För mig är souvenirer lite av den samtida ”folkkonst” som jag både hatar och älskar.
Hatar för att det i mångt och mycket är kitsch – och – hemslöjd i den tristaste formen.
Älskar för att de får mig att minnas och bli glad.
Att vi genom olika material och symboler försöker skapa autentiska avbilder helt artificiellt.
Att vi som resenärer låter oss ”luras” och ”förföras” av dessa minnesmärken – gåvor.
Minnesmärken över geografiska erövringar som vi alla någon gång lockats att köpa.
En form av ”statussymbol” som vi signalerar till andra med: Här / där har jag varit!
”Jag ville inte irra omkring i New York som turist längre. Jag kände ett behov av att leva på riktigt i denna stad, så att den kunde bli min lite grann och jag kunde lämna kvar något av mig själv”.
Simone de Beauvoir – Mandarinerna
SOUVENIR – KEEPSAKE
In my own way reflect and in the form of a piece of jewellery turn out my feeling of souvenir – keepsake.
To me souvenirs are somewhat of the contemporary”folk-art” which I both hate and love.
-Hate because it in many respects is kitsch – and- handicraft in the cheerless form.
-Love because it makes me remember and be glad.
That we as travellers permits our self to be ”fooled” and ”seduced” by all these monuments – keepsakes.
Monuments over geographical conquests, which we all sometimes were tempted to buy. A form of”status symbol” with which we make signals to others: I have been here/ there!
”I do not want to wander about in New York as a tourist anymore. I felt a need to rightly live in this city, so that it could be my a little and that I could leave behind something of myself”.
Simone de Beauvoir – The Mandarins
Master of Fine Art -2003.
SAMHÄLLETS YTLIGHET
SUPERFICIALITY OF SOCIETY
Allt är inte vad vi ser och det vi ser är inte alltid sant.
Det började som en kritisk tanke mot mediebruset och det kalla, ytliga samhället jag tycker att vi befinner oss i. Men med tiden har mitt arbete övergått till att handla om mig och det goda som ”vi” inte alltid hinner upptäcka i vår jakt på det fullkomliga, ytliga och schablonbilden av total och fullständig lycka…
Att synas och att vara synlig.
Jag har efter mycket research och en resa till Polen funnit att jag vill gestalta mina smycken som poetiska objekt. Med fokus på kroppen/människan, som behållare. Det faller sig naturligt för mig att skildra kroppen/människan som behållare med utsida, insida. Vi fyller våra liv med olika upplevelser…
Det vi upplever kommer att påverka våra kommande handlingar.
Att förmedla en känsla har styrt materialvalet. Jag har inspirerats av naturen, litteratur, tidningar och TV, vänner och möten på min resa i Polen…
Ett mål har varit att finna min egen lycka i mitt skapande och hitta en arbetsprocess som rättfärdigar detta.
Att vara och känna, har varit en viktig del i detta arbete.
Magistergrad i Smyckekonst 2003
Paula Lindblom ”Samhällets Ytlighet”
Opponentens vurderinger og konklusjon
Tittelen ”Samhällets Ytlighet” gir signaler om en vilje til å reflektere over hva som er viktig og sant i tillvaerelsen, og hva som ikke er det. Paula Lindblom skriver om hvordan mediasamfundet fokuserer på et sjablonbilde av skjönnhet og det perfekte, og hvordan dette påvirker våre liv. Jeg oppfatter at hennes primaere mål har vaert å finne dypere mening og begrunnelse for sitt arbeide, samt metoder som passer for henne. Hun velger ”kroppen” som tema, som representeres i baerbare smykker, og som i sin utforming kan sees som metafor for det samme. Beholderformen som er gjennomgående, utföres i forskjellige materialer og teknikker, noe som tilförer dem innhold og mening. Hennes tilnaerming til stoffet er både personlig, sanselig og poetisk. Etter min mening er arbeidene som presenteres som skisser ofte mer interessante enn de som fremstår som ferdige smykkeobjekter. Skissene har et mer levende ekspressivt uttrykk som åpner for flere mulige fortolkninger. Saerlig gjelder dette noen av de siste, fremstilt i steingodsleire. Som helhet vil jeg si at hun dokumenterer mye godt arbeide og en god og omfattende utviklingsprosess. På sitt beste viser hun en frisk og uredd eksperimentlyst, utholdenhet i motgang og med vilje og evne til å reflektere omkring smykkbegrepet.
Prosessen og erfaringene fra den har vaert viktig, og er godt dokumenteret.
Konklusjon: Paula Lindblom har bestått sin magistereksamen.
Ingjerd Hanevold professor
SUPERFICIALITY OF SOCIETY
All is not what we see and what we see is not always true.
It all began as a critical thought against the media buzz and the cold, superficial society I think we live in. As time goes on my work has proceeded to be about myself and the good things you do not always have time to discover in your hunt for the superficial and perfect cliché of total and complete happiness...
To bee seen and be visible.
I have after much work of research and a trip to Poland found that I want to form my pieces of jewellery as poetical objects, focusing the body / man, as a reservoir. It comes natural to me to describe the body / man as a reservoir with an outside and an inside.
We fill our lives with different experiences and events.
What we experience will affect our future deeds.
To mediate a feeling has guided the choose of material. I have been inspired by nature, literature, papers and TV, friends and meetings during my trip to Poland…
A one purpose has been to find my own happiness in my creating and to find a working process, which justifies it
To be and to feel has been an important part in this work.
CONCLUSION MASTER OF FINE ART
The title ” The superficiality of society” gives us a hint of willingness to reflect over what’s true and important in life and what isn’t. Paula Lindblom writes about how medias put focus on an image of perfect beauty and the consequence that image has in our lives.
I understand that her first aim is how to find deeper meaning and thoughts about her work, and also to find methods that suit her. ”The body” is the theme she has chosen, which is represented as jewellery, and that can be seen as a metaphor of the body. The final products are made in different materials and by different techniques, which gives her work contents and meaning. She approaches the material in a personal, sensual and poetic way. I find the work which is represented by sketches often more interesting than the final product. The sketches are more living and expressive and they open the way for many other possible interpretations. This is especially the case for some of them, those made of stoneware. As a whole I want to say that she has documented very good work and a high level of development. She has a healthy approach, willingness to experiment and can endure difficulties. She is also reflecting about the concept of jewellery.
The process and the experiences from it are well documented.
Conclusion: Paula Lindblom has passed her M FA.
Ingjerd Hanevold professor
