Enter Art Fair 2022

25 - 28 August 2022

Accumulation is central to Elin Melberg´s artwork, in which distinctive, time-consuming compositions are created from everyday materials. In her sculptures, installations and textile works, she weaves memories and impressions from her surroundings into her fragile and personal works of art. Physical dimensions are key to one´s appreciation of Elin Melberg´s pieces, playing an important role not only in terms of the gallery itself, but also in the onlooker´s perception of her artwork.

Over the past few years and moving forwards, Melberg has chosen to immerse herself increasingly into exploring sculptural textile works of art. The process is akin to her work with monumental sculptures and installations. Both are long, detailed processes involving embroidery and knitting, one stitch at a time. Presence is paramount and the accompanying handcraft is significant. She seeks a vulnerable transparency in her textile works, rather than hiding away. Melberg´s works are not supposed to be seen as technically perfect. Whilst technical perfection is important to other artists and to their creations, it is conceptually misplaced in Melberg´s artwork. She will deliberately drop stitches, knit using four or five yarns at once, sew and knot and attempt to create a presence which is far from perfect, but which is beautiful whilst fragile and imperfect. This is art mimicking life itself.

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Eyvind Solli Andreassen’s ceramic objects revolve around shapes, volumes, and sizes. He works within a time-consuming process where both hands and mind are present. The layers of repetitive surface created one by one with a single finger pressed down in precise and detailed rows. Hand rolled coils of clay are placed on top of each other revealing rhythmic lines that flow through the object creating varied organic forms where countless fingerprints shape time into a physical object.

Techniques, cracks and coincidences that occur during the process are openly displayed and tell a physical story of Andreassen’s interaction with the material. The insides appear to reference spaces and holes formed over time by unknown forces and various climatic influences. The deliberate absence of glaze accentuates the individual qualities that arise from the use of different types of clay.

Balancing a desire to play with gravity, the work also exudes a desire to grow continuously but has reached a point where it meets its own end. Both static and moving it highlights the fragility of ceramic work where tension and unease lingers as though the work might fall at any given moment.

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