Frida Fjellman
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About

Frida Fjellman

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Born 1971 in Mariestad. Work since 2000 in my own studio in Stockholm, Sweden, mainly with exhibitions, public and private commissions, small productions and as a designer. 

Represented by Stockholmmodern, Stockholm and HostlerBurrows, New York

Contact: frida@fridafjellman.com, info@hostlerburrows.com, thomas@stockholmmodern.se

Follow me on Instagram @fridafjellmanwork

 

Vad är det som slår an våra känslor? Vad får oss att le, vad får oss att bli engagerade? Hur skapar jag kontakt? I mitt arbete har jag återkommande tagit fasta på det som upplevs som för mycket. Det direkta och sensitiva. Känslor som jag och många med mig blir förlägna över. Objekt som avväpnar eller får oss att reagera oväntat. Det mänskliga med allt vad det kan innebära. Det som fascinerar och genererar energi. Eller det som får oss att känna ödmjukhet inför livet och dess varelser.

Jag intresserar mig också för rummet, både det offentliga och det privata. Vad vi väljer eller inte väljer att omge oss med. Vad som är accepterat eller inte i olika sammanhang. Om våra inlärda åsikter om hur saker och ting ska vara. Och vem som bestämt det. En del i mitt arbete har varit att försöka synliggöra detta, göra betraktaren varse om problematiken och på så vis också kanske öppna upp för nya tankegångar.

Jag ser mig själv som konsthantverkare. Det är min angreppsmetod och ur konsthantverket kommer den problematik som jag intresserar mig för.

Foto: Patrick Miller

 

Upcoming projects
  • 2017       
    • Institut Suédois, Next Level Craft , 21th Oct
    • Site specific installation for Netjets at ArtBasel Miami. Private lounge
  • 2018        
    • Solo show, Hostler Burrows, New York 

 

Education
  • 2004
    • Studier i glas och ljus,
    • Pilchuck School of Glass, Washington
  • 2003
    • Studier i neon,
    • Pilchuck School of Glass, Washington
  • 2000
    • Studier i lampwork,
    • Corning the Studio, New York
  • 1998–1999
    • Minor Field Studie i Thailand
    • under 5 månader
  • 1998
    • Magisterexamen, Konstfack, Glas -och Keramik
  • 1991–1993
    • Konsthantverkslinjen, Hellidens Folkhögskola, Tidaholm
Solo Exhibitions
  • 2017 
    • Crystal Atmosphere, Site specific installation for NetJets VIPlounge, ArtBasel 
  •  2016
    •  La Crypte de Velours Bleu, Design Miami for Hostler Burrows
  •  2015
    • I huvudet på Frida Fjellman, Gustavsbergs Konsthall
    • I huvudet på Frida Fjellman, Eskilstuna Konsthall
  • 2011
    • Oväntat, Skövde Konsthall (med Pia König och Mårten Medbo)
  • 2010
    • Hållplats för konst, Centrallasarettet i Västerås
  • 2009
    • Top show blood lines, The White Tube, Oslo
  • 2009
    • Top show blood lines, Galleri IngerMolin, Stockholm
  • 2008
    • Galleri Mårtensson - Persson
  • 2007–2008
    • Nocturnal Dreams, Gustavsbergs Konsthall, Stockholm
  • 2006
    • Glint, Röhsska Museet, Göteborg
  • 2005
    • Other Place, Sveriges Glasmuseum, Växjö
  • 2004
    • Borderline, Galleri IngerMolin, Stockholm
  • 2002
    • Galleri IngerMolin, Stockholm
  • 2001
    • Lockbon och en koja, Galleri Agata, Stockholm
  • 2001
    • Blås&knåda, Stockholm
Group Exhibitions, selected
  • 2016             
    • Paracosm, New worlds in glass, Norte Maar, Brooklyn,  New York
    • Tillbaka till Framtiden, Österlens museum, kurerad av Dennis Dahlqvist

    • Design Basel/Hostler Burrows, Basel

    • Gränslöst, 1700-tal speglat i nuet, Göteborgs Konstmuseum

    • Svensk Glaskonst efter 2000, Millesgården 
    • Örnsbersgsauktionen 2016
    • Next Level Craft, Svenska Ambassaden i Washington DC, curated by Aia Jüdes and Sanna Haverinen
  •  2015
    • Next Level Craft, Vandringutställning som en del i Umeå Kulturhuvudstadsår 2014, curated by Aia Jüdes and Sanna Haverinen
  •  2014
    • Zwinger und ich, Ateljé Ö-gruppen
    • Konst för alla, Skellefteå Konsthall
  •  2013
    • Fint i hyllan, Sigtuna Konstmuseum & Blås&Knåda, Stockholm
    • Varning för hunden, Studio L2, Stockholm
    • Tingenes Tilstand, ARTendal, Bomuldsfabriken Kunsthall
  •  2012
    • All Star Festival, Galleri IngerMolin, Stockholm
  •  2011
    • Graft, Galleri Formats 20-års jubileumsutställning, Oslo
  • 2011
    • Biennalen for Kunsthåndverk & Design 2011,
      Koldinghus, Kolding
  • 2010
    • Oväntat,
      separat del tillsammans med Pia König och Mårten Medbo, Skövde Konsthall
  • 2010
    • Momentum Design,
      Punkt Ö, Momentum Konsthall, Moss, Norge
  • 2010
    • Ceramic Context,
      Bornholm, Danmark
  • 2009
    • Reymyre Matters,
      Reymyre Antik, Reymyre
  • 2009
    • Sakernas Tillstånd,
      Kulturhuset, Stockholm
Collections (selected)
  • Eskilstuna Konstmuseum
  • American Museum of Glass, Millville, NJ
  • Collection de Vincent Bazin, France
  • Nationalmuseum
  • Röhsska Museet
  • Stockholms Konstråd
  • Eskilstuna Konstmuseum
  • Skövde Konstmuseum
  • Växjö Glasmuseum
  • Statens Konstråd 
  • Västerås Konstmuseum
  • Ebeltoft Glasmuseum, Danmark
Public Art
  • 2017 
    • Trönninge Idrottscenter, Entré, Varberg 
  • 2016 
    • Entance of the Munktellbadet, Eskilstuna 
  • 2015  
    • Womens healthcare, BB, BVC, KSS, Skövde
  •  2014
    • Mestefjellets Skole, Larvik, Norge
  •  2011
    • Moröbackes Förskola, Skellefteå
    • Skogens Förskola, Skövde
  • 2010
    • St. Eriks Gymnasium, Stockholm, Stockholms Konst
  • 2008
    • Läkemedelcentrum Göteborg, Akademiska Hus/Statens Konstråd
  • 2008
    • Uppsala Akademiska Sjukhus, CIVA, Kultur i Länet
  • 2007
    • Hässelby Gymnasium
  • 2005
    • Johannelunds Äldreboende, Västerhaninge
  • 2003
    • Huddinge Sjukhus Meditationsrum
  • 2002
    • Uppsala Akademiska Sjukhus, Barnuppvakning
Grants, awards and nominations
    •  2016
      • Form's top ten Nordic Projects from 2016
      • Formex Formidable
    •  2015
      • The Swedish Arts Grants Committee, 5 years working scholarship
    • 2010
      • Erik Höglund Scholarship
      • Carl-Axel Valléns stiftelse
    • 2009
      • Craftist of the year, Residence Magazine
    • 2009
      • 2-year working scholarship, The Swedish Arts Grants Committee
    • 2007
      • Stockholm City Culture Award
    • 2006
      • Irma and Einar Forseth's Foundation of Culture
    • 2005
      • The Creative Glass Center of America. Fellowship during 3 month
    • 2004
      • 2-year working scholarship, The Swedish Arts Grants Committee
    • 2004 - 2016
      • IASPIS, Internationellt Kulturutbyte several occations
Interview by Vimala Söderqvist

Interview by Vimala Söderqvist

Feb 2016

ARTIST INTERVIEW – FRIDA FJELLMAN

Frida Fjellman is one of Sweden’s most prominent Craft Artists. Her creations in ceramic and glass are very different from the aesthetics of minimalism and form following function that we have come to expect of Swedish Craft Artists and Designers, blurring the line between Craft and Fine Art. Her ceramic animals take us into a dreamlike world of myths and fables, of human interaction with animals and nature, most of them originating from the Swedish Northern landscape. Her glass chandeliers are sparkling gem like prisms that are suspended jewels in a room. In the exhibition “Being Frida Fjellman” at Gustavsberg Konsthall, one walks in to a dramatic stage set, red velvet curtains as a backdrop, and engaging with the artwork, her animals move and trigger different feelings within the visitor.

Frida has exhibited very widely at home and abroad, has won numerous grants and awards, among them, Residence  Magazine’s Craft Artist of the Year 2010. Her art is in the collections of major museums in Sweden and there are numerous installations in public spaces.

You studied ceramics and glass design at Konstfack, how did that become your choice of material as an artist?

It was ceramics that had the biggest influence on me. I used to accompany my father to Ceramic classes when I was little and always had a fascination for the material. When I later attended an introductory course at the Community College Helliden, I had a wonderful teacher, Inger Persson who previously worked as a designer for Rörstrand. She taught me a lot and she really made me love ceramics. So it was without any doubt that I would choose that line of study. Even though I had thought that it would just be for a little while.

In your exhibitions you seem to create a very theatrical atmosphere, bringing ceramics, light, glass and lamps together in a very dreamlike scenario, what is the story that you are trying to create?

It differs from time to time. Often I have a clear picture of the whole thing from the start, and plan all the materials and elements from a very early stage of the process. I see the exhibition space as a three dimensional painting which you are also able to experience from within, adding certain elements that will trigger the senses. It is a mixture of symbolic meanings, aesthetic experiences and my own personal take on it. I have a certain object as a “base”, like main characters (after I have set my own frames and rules for the show) and it grows from this. It is a slow process and it takes time. I guess that the story would be some kind of essence of what has actually been on my mind over  the last year transformed into something tangible.

You use a lot of animals in your sculptures, what do they represent to you?

They represent so much… It can be my signature, myself, our relationship to nature, myths and tales, our cultural heritage, our relationship to things of the past, general emotional states of being and so on.

Could you describe the process you go through in creating your animal sculptures?

It is quite a challenging process. Firstly I need to choose the type of animal. It can come from an idea that’s been brewing over time. Then a pose that will match my design objective. I would also have to decide what the animal will project. At the same time I will have to read up on that particular animal, both facts and people’s private experiences. Once I have decided on the pose, I start looking for pictures, then comes the time to start building… I begin with a rather brutal process, I start by spiralling up a base that is a lot smaller than the intended sculpture of the animal, so that I can start adding a lot of clay while pressing and bending into shape. Then I wait for the base to be stable before I can start to sculpt the animal properly. I make it hollow from the start. It takes time and it is a laborious process but it’s also beautiful and rewarding. I really feel the animal when I am working with it. After that the last step is moving it to be glazed, and that is another whole process.

You studied light and neon at the Pilchuck School of Glass in Washington, what attracts you to neon and is it challenging to work with?

Only because I just loved it!

What is it that you want to project with your art to those viewing it?

I would like the visitors to go close to the objects. I would like to trigger curiosity and sometimes fascination. There are times I have worked with questions surrounding what we have come to believe and try to demonstrate that through my sculptures but mostly I would like the viewer to be sucked in and think about something else for a moment. I would like to move the viewer into questioning why did this happen? Why am I sad to see a mole curled up on a cushion?

I love your chandeliers, what was the inspiration for the design?

Thank you! Emeralds were the inspiration. And the prisms on a traditional crystal chandelier. I needed an element that would symbolise something magical and captivating. A focus point, like a large treasure. And I needed something to be up in the air, and that’s how the idea for the chandelier was conceived. The last chandelier was made with the prisms itself as the building part, they are leaning on each other.

How do craft artists merge craft into the world of Fine Art, especially in Scandinavia, where craft is known for its minimal aesthetics? Do you find this a challenge?

I see that as an opening and an access. A long time ago, after my graduation from Konstfack, I worked more actively with it. For example I did my own version of “Scandinavian Blonde” but for me it contained the Northern Swedish mountain landscape, Mountain Owls, Lemmings, Ermines, more drama. And I have been working with people’s preconceived opinions as well. I found it interesting, with the beaver’s shape for example. The big belly, rounded back, the short neck and big yellow teeth. Qualities that we mostly consider ugly or unattractive. I think those are ideas that we have taught ourselves. But for a beaver, this look is perfect. They are perfect animals for its purpose and I wanted to demonstrate that in some way. And that’s how it went, one thing led to another.

What are you working on now?

I am working on a public commission at Eskilstuna for a new Bath House and I am also starting to work on a public commission at a new sport arena in Varberg. Also something The National Swedish Association of Art, SAK, and a few other projects.

 

NEWS
PRESS

Institut Suédois:

”Frida Fjellman, one of the artists of our next exhibition, entered the grand court: for the 48th edition of Art Basel in Switzerland last June, she was commissioned for NetJets, an aviation company Private and great partner of the art fair.
The young designer has been able to immerse visitors from the VIP lounge in the world of myths and fables as she alone knows how to do it, with a suspended glass installation that inspired tranquility and dream. Follow this designer closely and discover his work at the next level craft exhibition. Opening October 21 at 14 pm.”

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— 2017-08-21 —

Have a look at my new limited collection Who was it? for Kosta Boda at Nordiska Kompaniet, NK. One month from now. This is a part of the exhibition Homage, Kosta Boda 275th anniversary. 5 designers makes their own homage to an earlier designer at Kosta Boda. I chosed to work with Erik Höglund.

www.kostaboda.se

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— 2017-05-26 —

Soon at NK, Kosta Boda 275th Anniversary

– Homage, NK, Stockholm, 24 May–26 June

Young designers interpret older legends. We’ve invited five of the country’s most exciting artists to team up with famous names from the glassworks’ rich history. Frida Fjellman has joined forces with Erik Höglund. Hannah Hansdotter with Monica Backström. Åsa Jungnelius chimes in with Ulrika Hydman-Vallien and Sven X:et Erixson. Mattias Stenberg embraces the elegant heritage of Vicke Lindstrand.

The result is a gracious homage to our most beloved Swedish glass art. Renewal has always been a part of our DNA at Kosta Boda, but without our historical roots, we would never have survived when the winds blew cold.

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— 2017-05-15 —

Soon at ArtBasel: Frida Fjellman Installation at Netjets private lounge

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— 2017-05-10 —

http://www.svt.se/kultur/konst/kristallkronor-slog-knockout-pa-varldseliten

 

Kristallkronor slog knockout på världseliten

SVT:s konstkritiker Dennis Dahlqvist gillar Frida Fjellmans kristallkronor. Foto: SVT/ Don Titelman 

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Frida Fjellmans nyskapande tolkning av kristallkronan hyllas av SVT:s Dennis Dahlqvist. Kronorna ställs ut under Stockholm Design Week – ett evenemang där såväl inhemska som internationella designer ställer ut.
Stockholm Design Week är i full gång och på flera platser i huvudstaden ställs design och arkitektur ut.

Och enligt Kulturnyheternas konstkritiker Dennis Dahlqvist, som besökt evenemanget, har möbelmässan gjort en rejäl uppryckning – speciellt gillar han Jaime Hayóns alster.

– Årets hedersgäst, den lekfulle spanjoren Jaime Hayón, har till exempel betydligt mer självdistans och humor än de senaste fem årens gästartister tillsammans. I sin färgstarka paviljong jonglerar han med en mängd stilar: art noveau, art deco, tidig modernism och postmodernism.

”Magiska kristaller”
SVT:s konstkritiker hylllar även designveckans specialutställning, som tar avstamp i den amerikanska shakerrörelsen från 1800-talet.

Däremot har de samtida konstnärer som fått i uppdrag att tolka de avskalade föremålen lyckats mindre bra, enligt Dennis Dahlqvist.

Men allra bäst på designveckan är Frida Fjellman, vars kristallkronor ställs ut på Sotheby’s, säger SVT:s konstkritiker.

– Kronorna slog faktiskt knockout på hela världseliten i december under Art Basel i Miami och inte undra på. De här magiska kristallerna förflyttar ju folk till ett förstrollat land där juvelerna hänger i stora klasar från träden. Helt överväldigande, faktiskt.

— 2017-02-13 —

Une touche postmoderniste på Sotheby’s förlängt!

Pågår tom tisdag 14/2. Kom dit!

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— 2017-02-10 —

Stockholmmodern presenterar

Frida Fjellman

Une touche postmoderniste

Vernissage i konstnärens närvaro 

onsdagen den 8e februari kl 17-19

Sotheby’s

Sturegatan 24. 7/2-10/2, kl 10-17

(lunchstängt kl 12.30-13.30)

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Photo: Patrick Miller / Manocamera

— 2017-02-05 —

The Örnsbergs Auktion 2017 

#ornsbergsauktionen#öa17 all! Exhibition opens on monday February 6 and the auction is on the following friday (10/2 19:00)
Exhibition: MDT, Slupskjulsvägen 30
Auction: Mindepartementet Slupskjulsvägen 26

Catalogue will be up on the site end of this week. Stay tuned for more info. 
Happy bidding! 

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— 2017-01-30 —

The Crystal Forest at Galleri Splace, Mariestad.

- 11/9

 

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— 2016-09-10 —

The Troubled Bear is one of 12 nominated for Formex Formidable 2016 (Through SAK, Sveriges Allmänna Konstförening)

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— 2016-08-25 —

Done!

Wishes.

Public installation at Skaraborgs Sjukhus 2015 –  2016, Maternity, neonatal and womens ward

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— 2016-08-23 —

 

Smaller chandeliers are coming up

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— 2016-07-01 —

Lemmings are coming back home. For sale for  3700 SEK each. 

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— 2016-05-26 —

Design Basel 2016

14 – 19 Juni, Hostler Burrows Gallery

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Photo: Anders Johansson

 

New chandelier at Hostler Burrows, New York

SPRING ON10 WEDNESDAY, MAY 18TH, 6 – 9 PM

51 E. 10th Street, New York

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— 2016-05-11 —

RELEASE AV SAK EDITION

NR 2 2016 AV FRIDA FJELLMAN

THE TROUBLED BEAR

Tisdag 17 maj klockan 13.00

Teknik: Glaserat stengods

Mått: Höjd ca 35 cm

Pris: 4900 kr

Upplaga: 25 exemplar

se mer på www.konstforeningen.se

foto: Björn Mattisson

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— 2016-05-05 —

The Ghost went c r a z y  at Örnsbergsauktionen 2016

www.ornsbergsauktionen.se

 

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Photo: Viktor Sjödin

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Photo: Connie Hüsser    

 

— 2016-02-16 —

Artist Interview by Vimala Söderqvist

www.vsoderqvist.com

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Photo: Björn Mattisson

— 2016-02-15 —

The catalogue is here! Contact me if you are interested at frida@fridafjellman.com

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Graphic design: Josefin Janson

One of the texts, by Inger Molin 

(Opening speech September 11th 2015)

Frida! Over the course of the years you seem to have gone around with a natural entourage of hares, lemmings, owls, foxes, dogs and now, even a bear, exploring a wide field in which you have linked together culture and nature, shifting the very boundary between art and crafts. You have expressed this in a succession of exhibitions at private and public galleries and museums in Sweden and abroad, and with veritably brilliant works for display in the public domain.

So what is it that moves around inside Frida Fjellman’s head? One gains a good impression of this by checking fridafjellman.com. Up comes a page full of images in the most striking colours.

And then there are the headings:

Lustre aux Couleur de la Forêt Crystal Clear Oväntat
Nocturnal Dreams Other Place Gulkorvar
Dripping Light
Happy Clouds
Dark Chandelier and Red Fox Beavers Adrift Volcanoes Windowlicker
Atelier
Glint
Cloud Cukoo Sky Hubba Bubba Heaven Borderline
Top Show Blood Lines Residence Bubbelcosmos Ensemble
Gas Cloud Lamps
Hello
Skogens djur

All this information on your website fills me with a bubbling sense of delight. It is as though I was looking towards the horizon for a lost balloon, not with a sense of loss but with a growing feeling of light being shed on a fragment of memory – something from childhood, an encounter with people, an encounter with animals – and, at the same time, an insight into the transience of life.

Like Alice in Wonderland, you lift up and reflect things
close at hand that are often hidden and neglected in a scale
of shifting proportions without your works ever becoming trivial or approaching pastiche. You make us see what you see.

Our professional contacts – yours and mine – started with Lockbon och en koja at the memorable Agata gallery on Södermalm in Stockholm; a forest hut made of glittering glass branches which would have been big enough for

you to hide in them. This was an extraordinarily beautiful exhibition. When the exhibition ended, you, together with Maj Sandell and Agnes Lidman, who ran the gallery for several successful years, were positive towards the proposal to move the hut to my own gallery on Kommendörsgatan in Stockholm. It remained there during the cold and snowy winter of 2001 in front of a backdrop onto which

a forest image was projected. The gallery was closed for the Christmas break. Mounds of snow outside the windows were trampled down by window­shoppers while icicles rained down from the roof. All the while your hut stood firm providing an extraordinarily popular Christmas present to passers­by. Judging by the notes people thrust through the letterbox there were a lot of them.

Frida, your art moves us. You lead us into a magical world with your clear gaze and, in the best sense, you see things with a child’s vision, with the profound seriousness that
is the source of all serious creative work. With a fixed purposefulness and with absolute precision you continue to develop your art. You do not romanticize but, on the contrary, you show us what you regard as self­evident connections.

You are a warrior in your field. And it is a great delight for me to be able to formally open your exhibition: Being Frida Fjellman.

Have a look in FORM Magazine #6, 2015

Text: Bo Madestrand

Photo: Patrick Miller

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— 2015-12-16 —

NEWS
PRESS

L’Officiel

”Pourquoi la Suède est toujours le paradis du design”

https://www.lofficiel.com/art/balade-suedoise

”…Pour s’en assurer, il suffit d’entrer dans l’atelier de l’artiste Frida Fjellman, à Hägersten. Présente au dernier Art Basel de Miami avec son installation Crystal Atmosphere, la jeune femme incarne la fine fleur de la création artistique locale. Son objectif ? Dynamiter les codes en proposant des suspensions oniriques aux formes souvent arrondies, globuleuses et colorées, là où le design suédois a toujours affiché un goût prononcé pour les figures géométriques strictes. Elle raconte : “En arrivant à l’école d’art, j’ai vite compris qu’il y avait un tas de règles non écrites qui brimaient la créativité et installaient, de fait, une certaine esthétique de la rigueur. On me freinait sans cesse dans mes élans. Cet état d’esprit n’a plus cours aujourd’hui. On préfère repérer les talents et les laisse vivre !” Cet automne, Frida Fjellman et ses œuvres voyageront vers Paris pour célébrer la réouverture de l’Institut suédois de la capitale. Pour l’occasion, elle a travaillé tout l’été à l’élaboration d’une mystérieuse et spectaculairePink Marie-Antoinette de six mètres de haut. Autoproclamé “naïf”, “pas prétentieux” et “désarmé”, l’art de cette jeune créatrice s’exporte désormais aux quatre coins de la planète. Si l’élite locale se démène pour changer notre regard sur le design suédois, que l’on se rassure, les fondamentaux ne sont jamais loin !…”

Lofficiel

— 2017-09-05 —

Wallpaper magazine

https://www.wallpaper.com/art/netjets-art-basel

 Flying flicker: this year’s Netjets lounge at Art Basel casts a mesmerising glow

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Netjets enlisted Swedish artist Frida Fjellman, pictured, to create an installation for their collectors’ lounge at Art Basel

— 2017-06-22 —

https://www.whitewall.art/art/frida-fjellmans-crystal-atmosphere-netjets-art-basel

Whitewall

Frida Fjellman’s “Crystal Atmosphere” for NetJets at Art Basel

Since 2002, NetJets has been an associate partner of the Art Basel fair. This week in Basel, the leading Berkshire Hathaway private aviation company debuts its collaboration with Swedish artist Frida Fjellman, who created the “Crystal Atmosphere” installation for the NetJets VIP Lounge.

“Art Basel in Basel is an annual highlight for our owners, both in Europe and across the globe, many of whom are avid art collectors and enthusiasts. NetJets has supported Art Basel in Basel since 2002 and our long-running involvement is testament to the show’s continued position as the world’s leading platform for modern and contemporary art. This year we wanted to take our partnership with Art Basel one step further and through our collaboration with Frida. NetJets continues to demonstrate its commitment to providing innovative and exceptional experiences for our customers,” said Philip Baer, Regional Vice President, NetJets Europe.

Fjellman’s ceramic and glass works are finely crafted, exuding emotional and dreamy characteristics. To complement the brand’s place in the field of aviation, she used 100 glass prisms to represent NetJet’s community engagement with design and art. The “Crystal Atmosphere” theme was executed by the Boda Glass factory in Boda Glasbruk—a town in Southern Sweden—and took over two months to create by hand by master glassblowers with over 15 years of experience.

“I was interested in exploring the almost magical sense of tranquility that you experience when cruising above the clouds,” said Frida Fjellman. “Flying is perhaps one of the few oasis of calm in our increasingly interconnected digital society. ‘Crystal Atmosphere’ was designed to impart a sense of calm to the viewer as well as to intrigue and fascinate, making the visitor reflect and take a step back from their everyday lives. I hope that this will be a memorable and unexpected experience for the guests.”

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Frida Fjellman’s piece ”Crystal Atmosphere” commissioned by NetJets for Art Basel 2017.
Courtesy of NetJets.

 

— 2017-06-21 —

Forbes

Art Basel 2017 – The VIP Preview Highlights

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Inside the Collectors Lounge

The Collector’s VIP Lounge is a by-invitation-only area welcoming First Choice VIP and VIP-Preview card holders throughout the fair and is luxuriously represented by Art Basel’s sponsoring partners.

Frida Fjellman for NetJets

It’s the 16th year of partnership for NetJets and Art Basel. For this year’s artistic entertainment, the private aviation firm chose to work with Frida Fjellman, a critically acclaimed Swedish Craft Artist, in creating an innovative installation on display at the NetJets VIP lounge in the Art Basel Collectors Lounge. Celebrated and known for her artistic craft works and installations, Frida Fjellman lets the viewer of her works dive into the world of myths and fables. The eye-catching hanging installation “Crystal Atmosphere“ made of glass prisms in different sizes, colors and heights creates a dreamy atmosphere inside the by-invitaiton only VIP Lounge of NetJets. „I was interested in exploring the almost magical sense of tranquility that you experience when cruising above the clouds – flying is perhaps one of the few oasis of calm in our increasingly interconnected digital society. Crystal Atmosphere was designed to impart a sense of calm to the viewer as well as to intrigue and fascinate, making the visitor reflect and take a step back from their everyday lives. I hope that this will be a memorable and unexpected experience for the guests.“ said Frida Fjellman

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Frida Fjellman’s piece ‘Crystal Atmosphere’ commissioned by NetJets for Art Basel 2017

Dagens Industri 26/5

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— 2017-05-29 —

Short TV4  interview at NK at the opening of Kosta Boda Homage

https://www.tv4play.se/program/nyhetsmorgon?video_id=3916631

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— 2017-05-26 —

Architectural Digest

http://www.architecturaldigest.com/gallery/favorite-products-new-york-design-week

What We’re Coveting From New York Design Week

Throughout the year, Architectural Digest’s market department scours showrooms, stores, fairs, and design centers for the best new products on the market and then brings its favorites to AD PRO. From rugs to wallpaper to furniture and lighting, these are the items our editors are eyeing. This week, Associate Market Editor Kathryn Given shares her favorites, sourced from New York Design Week.

Frida Fjellman at Hostler Burrows

Photo: Courtesy of Hostler Burrows

Frida Fjellman at Hostler Burrows

The opening of TEFAF at the Park Avenue Armory drew those hoping to see the best in art and antiques, and the exhibitors certainly didn’t disappoint. A standout piece from Hostler Burrows was Frida Fjellman’s Lustre En Cristal Topaze Enfumée, a stunning hanging glass and brass object.

— 2017-05-09 —

Article in Galerie Magazine
http://www.galeriemagazine.com/frida-fjellmans-enchanting-glass-sculptures/

Frida Fjellman’s Enchanting Glass Sculptures

The Swedish artist’s jewel-like lighting has the design world captivated Fjellman’s dazzling exhibition at Design Miami 2016.
Courtesy of Hostler Burrows and the artist

Spring 2017 By

Fjellman at her Crystal Forest installation at Galleri Splace in Sweden. Photo: Jon Dreierbakken One of the head-turning booths at the Design Miami fair in December was a velvet-curtained lair where prismatic glass pendant lights hung in twinkling clusters like oversize jewels. Presented by New York gallery Hostler Burrows, the installation was the work of Swedish artist Frida Fjellman, who says her aim is “to intrigue and fascinate, to take viewers away from their everyday lives.” Based in Stockholm, Fjellman has caught the attention of the art and design worlds with her hyperreal ceramic and glass creatures and abstract swirling glass sculptures—which she often puts into enchanting tableaux. Juliet Burrows, co-owner of Hostler Burrows, says that Fjellman’s complex work “elicits a range of emotions, from joy to terror to wonder.” Currently Fjellman is working on a new series of lighting in hues inspired by the Art Deco era. “I love the power and positive outlook that period conveys,” the artist says. “My work is no joke, but I want to have fun.”

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La Crypte de Velours Blue exhibition at Design Miami 2016.Photo: Courtesy of Hostler Burrows and the artist 

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2008’s Cloud Cuckoo Sky installation. Photo: Natasja Jovic 

 

One of Fjellman’s recent jewel-like pendant lights in blown glass and brass.Photo: Courtesy of Hostler Burrows and the artist 

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A pendant in Art Deco colors. Photo: Courtesy of Hostler Burrows and the artist

— 2017-03-17 —

http://www.svt.se/kultur/konst/kristallkronor-slog-knockout-pa-varldseliten

 

Kristallkronor slog knockout på världseliten

SVT:s konstkritiker Dennis Dahlqvist gillar Frida Fjellmans kristallkronor. Foto: SVT/ Don Titelman 

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Frida Fjellmans nyskapande tolkning av kristallkronan hyllas av SVT:s Dennis Dahlqvist. Kronorna ställs ut under Stockholm Design Week – ett evenemang där såväl inhemska som internationella designer ställer ut.
Stockholm Design Week är i full gång och på flera platser i huvudstaden ställs design och arkitektur ut.

Och enligt Kulturnyheternas konstkritiker Dennis Dahlqvist, som besökt evenemanget, har möbelmässan gjort en rejäl uppryckning – speciellt gillar han Jaime Hayóns alster.

– Årets hedersgäst, den lekfulle spanjoren Jaime Hayón, har till exempel betydligt mer självdistans och humor än de senaste fem årens gästartister tillsammans. I sin färgstarka paviljong jonglerar han med en mängd stilar: art noveau, art deco, tidig modernism och postmodernism.

”Magiska kristaller”
SVT:s konstkritiker hylllar även designveckans specialutställning, som tar avstamp i den amerikanska shakerrörelsen från 1800-talet.

Däremot har de samtida konstnärer som fått i uppdrag att tolka de avskalade föremålen lyckats mindre bra, enligt Dennis Dahlqvist.

Men allra bäst på designveckan är Frida Fjellman, vars kristallkronor ställs ut på Sotheby’s, säger SVT:s konstkritiker.

– Kronorna slog faktiskt knockout på hela världseliten i december under Art Basel i Miami och inte undra på. De här magiska kristallerna förflyttar ju folk till ett förstrollat land där juvelerna hänger i stora klasar från träden. Helt överväldigande, faktiskt.

— 2017-02-13 —

Form Magazine

Magazine for Nordic Architecture and Design

Form’s top ten Nordic projects from 2016 – the complete list

Happy new year, friends! On Facebook we’ve been presenting a top ten list of Nordic projects from 2016. See the complete list below:

newutl
#8  Craftist Frida Fjellman’s gorgeous chandeliers, featured in Wallpaper!

http://www.formmagazine.com/en/2017/01/02/forms-top-ten-nordic-projects-complete-list/

— 2017-01-05 —

Wallpaper

Under the loupe: our latest watch and jewellery finds

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— 2016-12-18 —

Article in The CultureTrip. One woman picked from each fair…

 

Women Who Stole The Spotlight At Miami Art Week 2016

https://theculturetrip.com/north-america/usa/florida/articles/women-who-stole-the-spotlight-at-miami-art-week-2016/

…The booths and fair tents have now been vacated, and life in Miami restored to normal traffic woes. But the female voices present at Miami Art Week – an annual flurry of fairs that descend upon the city each December – have resonated far beyond these temporary events…

Design Miami

Hostler Burrows (New York) presented an installation by Frida Fjellman (Sweden), entitled La Crypte de Velours Bleu. The prismatic glass chandeliers invoke wonderment, and Fjellman felt that if she increased the size of the emerald-shaped ‘gems,’ she would also increase the spectacle of the treasures. Her work diverges from traditional Swedish art and design minimalism, rather exemplifying her mastery of a traditional craft and deep-rooted love for the Northern Swedish landscape…

Hostler Burrows, 51 E 10th St, New York, NY, USA + 1 212 343 0471

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Prismatic glass chandeliers by Frida Fjellman exhibited at Hostler Burrows. Photo Credit | Lisa Morales

— 2016-12-15 —

Article in Designerpages

Design Miami 2016: La Crypte de Velours Bleu by Frida Fjellman

http://media.designerpages.com/3rings/2016/12/design-miami-2016-la-crypte-de-velours-bleu-by-frida-fjellman/

…Although part of the Hostler Burrows booth, Fjellman displayed her work in a room of her own, intensifying the surrealistic nature of the pendants. Hung within their blue velvet chamber, the lights transport us into some enchanted fairy tale where giants drape themselves in gargantuan baubles, making us feel as small as Alice. 

In La Crypte de Velours Bleu, which translates as The Blue Velvet Crypt, Fjellman hung the chandeliers “in clusters to create an immersive environment.” That environment revives our sense of childhood wonder because, in walking through the space, we feel miniaturized—increasing our awe exponentially.

But the whole of the installation should not diminish the charm of its individual parts. “Inspired by precious gems,” the faceted pieces of Fjellman’s lights are each captivating. From ruby to sapphire, translucent to opaque, the suspended polygons are each baroque

beauties…

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The Telegraph

Design Miami highlights

DesignMiamiFridaFjellman

http://www.telegraph.co.uk/luxury/design/design-miami-highlights1/?WT.mc_id=tmg_share_em 

Frida Fjellman at Hostler Burrows

”Swedish designer Frida Fjellman started out in ceramics. She’s since diversified but her work still blurs the line between craft and fine art. Her giant glass chandeliers suspended like clusters of gargantuan jewels were given their own curtain-clad chamber by Hostler Burrows. Inspired by the prisms found in a traditional crystal chandelier these illuminated pieces were some of the most arresting pieces at this year’s fair. hostlerburrows.com

— 2016-12-09 —

The Creators Project

 10 Women Designers Who Ruled Design Miami

 http://thecreatorsproject.vice.com/blog/10-women-designers-who-ruled-design-miami?utm_source=tcpfbus

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The Ceramic Artists You Need to Know Now

Babs in Arcitectural Digest!

http://www.architecturaldigest.com/gallery/the-ceramic-artists-you-need-to-know-now/all

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— 2016-12-04 —

Dezeen

”Apocalyptic times call for extreme furniture” say Design Miami designers and gallerists

https://www.dezeen.com/2016/11/30/design-miami-apocalyptic-times-extreme-furniture-say-designers-gallerists/

Calm modernism is out and anarchic forms are in at this year’s Design Miamicollectors’ fair, as designers respond to tumultuous political times.

 The fair, which for the last few years has been dominated by mid-century French and vintage furniture, is this time stuffed with more experimental pieces.

”Times are crazy,” said Juan Garcia Mosqueda of New York gallery Chamber. ”No-one wants to play it safe any more… ”

”Meanwhile Swedish designer Frida Fjellman is presenting a spectacular installation of gaudy, oversized crystal-shaped pendant lights for Hostler Burrows gallery.”frida-fjellman-hostler-burrows-design-miami-pendant-lights-news_dezeen_2364_col_0

— 2016-12-03 —

WELCOME TO BJÖRN SPRINGFELDT’S COLLECTION!

https://www.bukowskis.com/en/news/1045

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…Frida Fjellman f. 1971 Malte, 2009

I en häpnadsväckande realistisk modellering ligger han och vaktar badkaret. Keramik har följt människan sedan urtiden, men alltför länge setts över axeln som material för konst. Idag har konstnärerna brutit med denna slentrianmässiga syn. Malte utstrålar värdighet och en sorgsen visdom…

Photo ©Patrick Miller / manocamera

— 2016-11-29 —

Kort intervju i 

APLACE Magazine

Frida Fjellman

Frida Fjellman är baserad i Stocholm och arbetar växelvis med egna utställningar, separata verk och offentliga gestaltningar.

Hur speglar det du gör samtiden? Om det gör det.
- Jag påverkas som alla andra av det jag ser, upplever och det som sker omkring mig. Utifrån det speglar jag och förhåller mig till samtiden varje dag. I förlängningen visar det sig mer eller mindre direkt i mina verk. Det kan vara allt från motivval till teknik. Trots det har jag alltid strävat efter att det jag gör ska vara ”odaterat”.

Vilka är dina ledord när det kommer till design?
- Jag ser mig själv som konsthantverkare och inte designer. Det är utifrån den kontexten jag har min kunskap och mitt arbetssätt. Jag skriver ledord för varje nytt projekt så de är olika beroende på projektet. Men återkommande är att aldrig vara feg. Att inte backa när något känns svårt eller läskigt. Sen är det viktigt att ha kul också. Att ibland låta lusten styra. Det jag gör innefattar ofta hårt arbete och då måste vissa delar vara luststyrda, annars blir det för tungt. Jag brukar också påminna mig själv om att inte ta mig själv i arbetet på för stort allvar. Livet är så allvarligt ändå.

Om du tänker på hur vårt samhälle ser ut idag, vad fyller design och formgivning för viktiga funktioner?
- Det kan ju vara så mycket – allt från det rent funktionella i samhället, att hjälpa ett samhälle att fungera rent praktiskt, till mer visionära funktioner. Det är ett stort och komplext område. Konsthantverket är tyvärr undanskymt och syns inte så mycket i vårt samhälle men jag tror att det är på väg tillbaka. Vi behöver det gamla hantverkskunnandet i det moderna samhället. Det behövs för vad det är i sig och för att appliceras på och kombineras med ny kunskap. Om man ser på det lite mer i det lilla tror jag verkligen på objekt som är tillverkade med omsorg oavsett vad det är. Det sprider sig. Ut från objektet till människan.

Vad inspireras du av?
- Jag inspireras av att arbeta och att vara i naturen.

Version 2

 https://www.aplace.com/magazine/formformular 

Läsvärd intervju i SAKs medlemstidning av Jennie Fahlström

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http://www.konstforeningen.se/portfolio/2016-nr-2/

Frida Fjellman – The troubled bear

”Djuren har huvudrollen i Frida Fjellmans (f 1971) skulpturala värld när hon arbetar i glas eller stengods. En stadig björn står på bakbenen och vädrar möjligheter trots en alltigenom tvivlande blick. Det är med oerhörd detaljrikedom och taktilitet som konsthantverkaren Frida Fjellman skildrar djur och natur som verkliga avbildningar men också som symboler för det vi människor kallar kultur. Om funktionalismens minimalistiska inverkan på konsthantverket i Sverige, om att gestalta det vi tycker om utan att det blir vulgärt och om hur motiv ofta blir bedömda innan de verkligen betraktas samtalar vi om innan det tidskrävande arbetet med att bränna och glasera brunbjörnarna tar vid….”

— 2016-05-31 —

Have a look in FORM Magazine #6, 2015

Text: Bo Madestrand

Photo: Patrick Miller

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— 2015-12-16 —

Recension,

Lotta Jonson, Dagens Nyheter

5/11 2015

Maktlösa djur som förmedlar ångest mer än gullegull

Säg ”porslinshund” och en kitschig liten figurin poppar upp i tankarna. Men nej, Frida Fjellmans murmeldjur, björnar eller hundar leder betraktaren in på helt andra banor även om gränsen är hårfin. Just nu kan man se ”I huvudet på Frida Fjellman” på Gustavsbergs konsthall (t o m 3/1) och där lyckas hela raden djur snarare förmedla existentiell ångest än gullegull.

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Utställningen har tidigare visats på Eskilstuna konstmuseum i en större sal. Det krympta formatet här förtätar känslan av fångenskap och förstärker budskapet om maktlöshet. Utmed rummets ena långsida hänger dovt röda sammetsdraperier. Från dessa liksom väller en blodröd matta ut över hela golvet.

Utplacerade på mattan finns, förutom de tidigare nämnda djuren, också en räv och en mullvad medan en uggla på väggen övervakar det hela. Ett träsk av glas speglar sig i taket och diverse glasobjekt (nedfallna från yttre rymden?) befinner sig i periferin.

I Frida Fjellmans offentliga uppdrag syns ofta lekfulla moln, bollar eller geometriska figurer i glas eller plexi i klara färger. De är lättsamt dekorativa medan djurvärlden allt sedan debuten återkommit i hennes utställningar – djuren blir ett slags inre alter egon.

På Gustavsbergs konsthall lurar ond bråd död, det handlar om hot och ovisshet. Säg den som inte blir berörd. Hjärtat fylls av medkänsla. Djuren är inte bara Frida Fjellman, de blir vi. Det är mycket teatralt och riktigt otäckt.

— 2015-11-23 —

 

”Staffans Bengtssons tio i topp” 

18 sept 2015

http://staffanbengtsson.residencemagazine.se/vecka-38/

Ravkrona

1. Veckans topplista krönes av Frida Fjellman. Det svenska konsthantverkets Bruno Liljefors! Skogens drottning, de små livens Nightingale! Ni hör. Jag blir SÅ FÖRTJUST när jag går runt i den lilla röda salongen på Gustavsbergs Konsthall och smyger bland Fjellmans keramiska fauna. Kanske trodde jag att hon redan toppat sin karriär. Att djuren, de innerliga små liven, inte kunde skildras bättre. Men nu leker hon med skalorna (BJÖRNEN är ju för tusan nästan 1:1) och allt blir så betagande och gripande och glansigt sentimentalt att man bara vill lägga sig ned och somna intill rävens och mullvadens sista kroppsvärme. För det är också allvar! Planeten har kapsejsat, radioaktiva moln driver in, blod fläckar våra väggar. Men Frida Fjellman vet hur man får hjärtan att slå på nytt. Ni som driver skolor, sjukhus, bibliotek – köp in!!

— 2015-09-23 —

Gascloud lamps

2006

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