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      <image:caption>Form as narrative / Stories in form It all begins with the clay. The desire to form and to master it, to give it life and find its inherent stories. Earthenware, burned to different temperatures, shifting in colour from deep brownish red to pale pink, a shade reminding us of body and skin. Kristine grew up in Edane outside Arvika, an area where the pottery heritage is strong, and where crafts hold a unique position in the community. Here, you have familiarity, tradition and rootedness in the material. There is a legacy to care for and build upon, but also to challenge and to renew, for the tradition to be alive and relevant today. What Kristine does by her way of working with the clay, is exactly this. She has a solid education background in ceramic arts from different schools. A stable foundation in the crafts was added to by her years in Bergen, a period that challenged and developed her work conceptually as well as artistically. She returned to Sweden to achieve her Master's at HDK (Academy of Design and Crafts) in Gothenburg in 2007. In the following years, she created her workshop in Edane, continuing to model her own world of form. Through several solo shows and participation in a large number of group exhibitions, she has continued exploring different environments and enchanting the contemporary art scene as well as the world of crafts with her curious shapes. In her workshop, you are usually met by creative teeming. Sketches on the wall, hand modelled shapes in various stages of completion. Casts, clay and tools. The process comes across as playful and free. Usually, it all starts with a shape. Or with a word. Through drawing, the shapes are pulled in different directions, increasing and decreasing in size and proportion. A leftover shape from a previous project that has yet to be finished, can be brought back to life and reach completion in the encounter with something else. In that manner, projects overlap and slide into each other. The white sketching pad will soon be smudged with red clay. The shapes often originate in nature. We recognise the pine cones, flowers, leaves and buds of the forest, carrying their association with Art Nouveau and folk lore. Sometimes the shapes collaborate with thrifted embroideries, wooden spoons and carved candlesticks. That meeting of art forms makes us view our handicraft heritage from a new perspective, contributing to the narrative. Sometimes the work is flirting with the florid and the decorative, ornate with gold splashes or tassels. A meeting between the rustic and the noble. At times, the bulging, swelling shapes turn our thoughts to the human body. Mysterious openings; the contrast between shiny, glazed and the raw and unglazed surfaces contribute to the sensual expression. Is that a bud or an orifice? Is that a cartoon cloud? Is it pop art or art nouveau? The unwillingness of the shapes to be defined or categorised forms a challenge for us as viewers. The ambivalence encourages us to keep our own imagination going, in a fine balance between humor and beauty. The shapes are repeated, creating rapports and patterns. They dance in rows, armies and formations, with a liberating sense of joy. The ornaments are brought into their extremes, in a way that would make Adolf Loos (Ornament and crime 1910) turn in his grave. By means of the camera, the ornaments are then composed into different rhythms before the final order is determined. So, to wrap things up. Out of the workshop and into the current exhibition context. Kristine is constantly inventing new ways to approach this mission, conquering the various spaces given to her: white cubes as well as public spaces. By using materials like wallpaper, plywood, furniture and colourful rope, the shapes are activated and put into a context. With the use of existing doorframes and other features, her works get to land and tie into their new environment. Personally, I have had the privilege to closely follow Kristine's work over a long period of time. The confidence of her shapes has grown and made them more precise, and their way of fitting into different contexts is constantly evolving. I am looking forward to following the continuation of her clay stories, watching them expand and slither on, finding their place in yet another new space. Liv Midbøe, artist fellow student, colleague and friend of Kristine</image:caption>
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      <image:caption>Berättelser tar form Det är med leran allting börjar. Lusten att forma och mästra den, ge den liv och finna dess inneboende berättelser. Lergodslera, som bränns till olika temperaturer och varierar färgmässigt mellan det djupt, brunröda till det blekrosa, en nyans som för tankarna till kropp och hud. Kristine är uppväxt i Edane utanför Arvika, en bygd med starka krukmakartraditioner där konsthantverket innehar en unik position. Här finns trygghet, tradition och förankring i materialet. Här finns något att bygga vidare på och förvalta, men också något som behöver utmanas och förnyas för att vara levande och ha relevans idag. Det gör Kristine i sitt sätt att arbeta med leran. Hon har en gedigen utbildning i keramik på olika skolor bakom sig. Först en stabil grund i hantverket och sedan åren i Bergen, som utmanade och utvecklade konceptuellt och konstnärligt. Hon återvände till Sverige och tog sin magisterexamen på HDK 2007. Därefter har hon byggt upp sin verkstad i Edane och fortsatt att modellera fram sin egen formvärld. Genom ett flertal separatutställningar och medverkan på ett stort antal grupputställningar har hon utforskat olika miljöer och intagit både bildkonstvärlden och konsthantverksarenan med sina underfundiga former. I verkstaden möts man oftast av ett kreativt myllrande. Skisser på väggarna och handmodellerade former i olika stadier. Gips-former, lera och verktyg. Processen framstår som lekfull och fri. Det brukar börja med en form. Eller ett ord. Genom teckning dras formerna åt olika håll, går upp och ned i storlek och proportioner. En överbliven, påbörjad form från ett tidigare projekt, som inte blivit riktigt färdig, kan få nytt i liv och bli fulländad i mötet med något annat. På så vis överlappar projekten och glider vidare in i varandra. Det vita skisspappret smutsas snart av den brunröda leran. Formerna har oftast sitt ursprung i naturen. Vi återfinner skogens kottar, blommor, blad och knoppar. Det väcker associationer till både jugend och folklore. Ibland samverkar formerna med loppis-fyndade broderier, träslevar och täljda träljustakar. Mötet får oss att betrakta vårt hemslöjdsarv på nytt och bidrar till narrativet. Ibland blir det även en flört med det mer svulstiga och dekorativa, med guldskvättar och tofsar. Det folkliga möter det mer nobla. Tidvis ger de bulliga, svällande formerna kroppsliga associationer. Mystiska öppningar och kontraster mellan blanka, glaserade ytor och råa, oglaserade, bidrar till det sensuella uttrycket. Är det en knopp eller kroppsöppning? Är det ett moln från en tecknad serie? Är det pop-konst eller art nouveau? Att formerna inte låter sig definieras och kategoriseras så lätt, blir ett sätt att utmana oss som betraktar dem. Det uppstår en ambivalens som uppmuntrar oss att fabulera vidare på egen hand. Här råder en skir balans mellan humor och skönhet. Formerna upprepas och skapar rapporter och mönster. De dansar fram i rader, arméer och formationer av olika slag. Däri ryms en befriande glädje. Ornamenten dras till sin spets. Adolf Loos (Ornament och brott 1910) vänder sig säkerligen i sin grav. Med kameran som verktyg, komponeras nu ornamenten i olika rytmer, innan den slutgiltiga ordningen fastställs. Så är det dags att knyta ihop säcken. Ut ur verkstaden och in i det aktuella utställnings-sammanhanget. Kristine uppfinner hela tiden nya sätt att angripa detta på, erövrar de olika rum som ställs till hennes förfogande, vita kuber så väl som offentliga rum. Med hjälp av material som tapet, plywood, möbler och färgglada rep, aktiveras formerna och får sammanhang. Genom att använda existerande dörrposter och liknande, landar verken och knyter an till sin nya miljö. Personligen har jag haft privilegiet att få följa Kristines arbete på nära håll under lång tid. Självförtroendet i formerna har mognat och blivit mer precist, och deras sätt att ingå i olika sammanhang är under ständig utveckling. Jag ser fram emot att följa fortsättningen i hennes berättelser i lera; se dem breda ut sig, slingra sig vidare och finna sin plats i nya rum. Liv Midbøe, konstnär medstudent, kollega och vän till Kristine  </image:caption>
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      <image:caption>Dekorativ väggprydnad med keramisk blomformat design och central guldreflekterande yta</image:caption>
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      <image:caption>Gamla väggar och dörrar i ett avlägset hus, dekorerade med keramiska blomliknande prydnader och gulddetaljer.</image:caption>
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      <image:caption>En vit vägg med tre stora dekorativa fjärilar i orange och grönt, samt en liten klocka mellan fjärilarna. På vänster sida finns en glasdörr med texten 'stoj å galleri' och 'ERGOODS KRISTINE THENMAN'.</image:caption>
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      <image:caption>Dekorativ väggprydnad med terrakotta och träelement, formad som abstrakta blad eller fjädrar i guld och brunt, arrangerade i en vertikal linje på en vit vägg.</image:caption>
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      <image:caption>En väggdekoration som liknar en glasspinne med en isglass av en conefrö och en grön snodd.</image:caption>
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      <image:caption>En person håller i en rund keramikskål som är gul med ett mönster av blommor i brun färg, taget ovanifrån.</image:caption>
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      <image:caption>Två avlånga julgranspluntor med röd och vit dekorationsmönster, var för sig, sett uppifrån.</image:caption>
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      <image:caption>Dekorativa keramikskålar i olika mönster och färger, en keramikfigur med ett stort ägg, en vit pumpa-lampa med en glödlampa, på en vit bakgrund.</image:caption>
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      <image:caption>En vägg med dekorativa, terrakottafärgade keramikkbolletter arrangerade på ett horisontellt band.</image:caption>
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      <image:caption>Ett konstverk som liknar ett ansikte med ett stora näsa, två höga öron med snäckor och ett snöre, med en gul tråd som dreglar ned under.</image:caption>
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      <image:caption>En väggprydd väggbonad i form av en fjäder med dekorativa element som liknar barr. Den består av flera lager av fjäderliknande strukturer i terrakottafärg, med tre hängande barrliknande utsmyckningar. Alla delar är gjorda av ett material som liknar lera eller keramisk.</image:caption>
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      <image:caption>En rad av små lyktoformade dekorationsprydnader i bruna färger, fästa med guldglansiga ringar, hängande längs en vägg.</image:caption>
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      <image:caption>Fyra dekorativa trähus formade som julgranar med grönt glansigt yttre och röda och vita mönster på insidan, placerade på ett träbord.</image:caption>
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      <image:caption>Förgylla</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5e64d55b613414608b8efd64/1583703817425-H24MWXD77SCC4LM5ACQ8/webbredP4130537.jpg</image:loc>
      <image:title>arbeten - Förgylla</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5e64d55b613414608b8efd64/1583703802798-2OSC054IEXR2J1Y2VBGW/webbredP6140040.jpg</image:loc>
      <image:title>arbeten - Förgylla</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5e64d55b613414608b8efd64/1583703801223-N9G6TURXW3QIWK6QPIWK/webbredP6140069.jpg</image:loc>
      <image:title>arbeten - Förgylla</image:title>
    </image:image>
  </url>
</urlset>

