Ceramics and Games
In the end of the 1990’s, I studied ceramics, and clay was very important. Meditative, downtoearth, so many possibilities. Surfaces was more important to me than form, I would say.
Already as a child, I made some board games, reshaping famous games to new versions related to my family and our places.
As a ceramics student, I used clay (in a very un-orthodox way, not understood by my department) to make games, mostly to tell a story, comment history or ironically comment society.
Play with Bengtskär, 1999. Raw-burnt clay, watercolour and mixed media. The lighthouse about 50 cm high, the island map sized A2.
This ceramic doll house tells about the fascinating history of Bengtskär. Very different kinds of people, all dolls in the playing game here, have lived or stayed at the lighthouse: builders, pilots (helping ships), teachers, wives, children, soldiers, tourists. How different they must have experienced the place, even though most of them, maybe except the prisoners of war, probably thought of it as theirs, at least for the perishable moment they stayed.
Puzzle of Time 1998 Clay and gravel, displayed on painted chipboard, about 60 cm diameter.
Another art work you could touch, by building different versions of Sommarö, an island in Inkoo archipelago. There were two pieces too much, so that you had to choose which Sommrö – from which time – you built. (This was like an opposite to Coastline’s changegame; this had been a fishing place in earlier times, now too far out in the sea to be popular for building or fixing the old fading away fishing huts.)
Coastline’s changegame, 1998. Raw dried clay, mixed media. About 50x30 cm.
This game originated from a planning map where an unusually big amount of cottages was planned on an already crowded archipelago island.