This work is about presenting the weave in a new and different context, by bringing textile and glass together. The work is characterized by material and shape experiments with silver and copper weave and hand blown glass. From experiments and sketches, the work has resulted in four Sculptures, symbolizing four selected stages in a lifecycle; the birth, the development, the maturity and the death. One important part of the work has been to combine different materials and techniques.Studies of literature, sketching, handweaving and integration of silver and copper weave in the glass have been important methods in the working process. Inspired by the flower, the human being and the universe, a story about the life cycle has taken shape.The paper describes the working process with choices and analyses.

The study focuses the evil within human beings and evil actions against other humans and the human kind. The evil is defined as evil actions such as murder and actions in war. The questions asked is whether the evil has a face and if it is possible in that case to paint that kind of face. The medieval mural paintings in old churches include Cain murdering his brother Abel based on the Bible. The study also includes reliefs, Sculptures in stone describing Cains´s murder of Abel and Sculptures with the Massacre of the Innocents in Bethlehem according to the Bible.

I?ve been working with traditional materials such as ceramic Sculptures and oil oncanvas. By using these traditional materials I can bring in more lowbrow aesthetic suchas package design, illustration, toys, animations, comics etc. and transform it to somethingdifferent.Using this aesthetic and techniques became a way for me to communicate everydaythoughts on life as well as my most inner thoughts on how I think about myself.This report is about how I?ve been using these components to realize my master degreework for the Spring Exhibition at Konstfack in Stockholm, 2014.This report also extend my process of getting there..

The purpose of the essay has been to analyze and interpret Hans Hedbergs ceramic art. It deals with his education, people and places that influenced and inspired Hans Hedberg in his artistic development. For example the nature in Köpmanholmen, Höga kusten, were he grew up as a child and the fact that he started as a painter. The essay analyses mainly his symbolic Sculptures the Egg and the Apple-series and links it to Surrealism and Nouveau Réalisme and how other artists has worked with the Egg and Apple-theme. .

Everything has changed, yet everything is the sameUsually, there is no reason for people to think about death or illness, although it is a highlynatural part of life. Most people live in health without major problems. When something does happen, people assume it will be at the end of their life and then it will be a natural part ofgrowing old. Yet some will get the notice or the feeling that something is not the way it should be, it can be something they can live with or they may have to face death.The work concerns the body?s fragility and feelings about human vulnerability.

I design a service building for the climbingcompany Klättertorpet.Klättertorpet is a small company that is situated outside Lysekil.Klättertorpet o!ers courses in climbing and campingsite."e new building will include kitchen, room for socialmeetings,gym, a small shop and safety lockers. "e starting point revolvesaround how to capture the companys values and philosophyin the design. "e purpose was to add value to the companythrough the design and for myself to get more experience ofworking with a client. During the project questions developedin to how to work with the hole lifecycle of the inertial in mindand how to make the place attractive to climbers. I worked withmodels, moodboards and Sculptures to explore the form.

AbstractWhen I, at the age of 20, started working in home care service, I had an idea of what it means to age, a view witch I quickly realized was not true at all. The essay begins with a search for the images of aging you come in contact with, when you do not have a deeper interest in the matter.I take a closer look at how aging is described and how the concepts of aging and dignity are often interconnected, and debate about which images of aging that is outdated and where from they originated.I also show that that image is in for a change, much is happening right now, and there are many like me, who want to change and broaden the view of what aging can mean.Finally I describe my Sculptures ?Beatrice? and ?Rosmari?, and reflect on how they relate to the image of what old age looks like.As a sculptor, I want to create an alternative to a widespread image of old people as a problem or idealization of the olf lady as a kind, cute and cookiebaking creature, as well as an alternative to the traditional sculpture tradition, that often show men in positions of power, and sweet passive women/girls.I tell of the strong, stubborn, eccentric and absolutely ordinary lady.

This thesis is based on an exhibition at the county museum Upplandsmuseet in Uppsala, Sweden. During an internship at this museum I got a chance to produce an exhibition, with some guidance from the museum staff. This exhibition was created with the purpose of teaching about agriculture in the late 19th century and also about the magnificent workmanship of Alrik Klingberg, who have carved these wooden objects for over 50 years. Each one of the objects possesses a story and a memory. The memories that Alrik Klingberg has incorporated into the objects are mainly from his childhood at a croft in northern Uppland.

?Claiming the right to space? is an argument frequently used by street artists for justifying illegal art in the public space. The public city space as a room of democracy and right to free speech is by some people considered threatened by commercial interests, and street art has become a way to demonstrate disapproval towards this. Street art is illegal and often anonymously performed in our cities. It developed in the late 1970s from the urban graffiti scene in America, and has therefore a lot in common with the graffiti movement.

For an outdoor environment to function optimally as a playarea requires that it is flexible, that is, contains places and elements that give room for the imagination and for own interpetretations, and also that the children in some way can influence and change their surroundings. It is also important to have variety, both in the sense that the playground has a unique character that distinguishes it from other places, and that it allows many different games and activities. There should for example be room for both wild games of running and moving around where many children can participate, and calm corners to withdraw to for rest or quiet play. A good playground should surprise, challenge and encourage children to discover their surroundings. One way to achive this is to use plants and materials from nature, whose irregular forms and structures can become interesting elements to explore. Vegetation also gives sence-experiences of various kinds, materials like twigs and leafs to play with and a place to play house.

The streetscape is a complex environment with a lot of different parts and users. If you look at the streetscapes main parts you have floor, walls, roof and furniture. The floor in the streetscape, the street, consists of the ground and the paving. It can be made of a lot of different materials with both architectonic and practical functions. The walls usually consist of the houses. They have a big influence on the streetscape depending on architecture, heights and widths.