设计师简介
教育：
1994年至98年，瑞士苏黎世艺术与手工艺学校的Goldsmith学徒和研究班，1998年毕业
专业经验：
1998年至2001年在瑞士的Goldsmith，2001年至今的挪威的Goldsmith
会员资格：
-挪威手工艺品协会（NK / NKNN）
-挪威视觉艺术家协会（NBK）
-挪威北部视觉艺术家协会（NNBK）
-挪威雕塑家协会（NBF）
-挪威视觉艺术家版权协会（BONO）
代表：
-挪威斯沃尔韦尔市北挪威艺术中心
-挪威特罗姆瑟北部挪威美术馆
-Galleri Villvin，挪威里索
-Kunstnerforbundet，挪威奥斯陆
-挪威萨米当代艺术萨米中心
-挪威索特兰索特兰博物馆
Exibitions
-2019, Possibly wearable things, Sami Easter Festival, Kautokeino, Norway
-2019, Generalforsamling, North Norwegian Art Center, Svolvær, Norway
-2019, Villa Bazaar, Norwegian Sculptor Society, Oslo, Norway
-2019, Juleutstillingen, Kunstnerforbundet, Oslo, Norway
Juried/ curated exhibitions:
-2019, The 73.North Norwegian Art Exhibition, traveling exhibition, Norway
-2019, MÅ, Temautstilling, RAM galleri, Oslo, Norway
-2019, CONTROLS / CTRL+S, Art Jewelry Night Budapest Competition 2019, FISE gallery, Hungary
-2019, In my opinion…, traveling exhibition, Art gallery in Legnica, Museum in Zabrze and others, Poland
-2019, Beijing International Jewelry Art Exhibition, Beijing, China
-2019, Itami international jewellery exhibition, The Museum of Arts&Crafts- Itami, Japan
Coming exhibitions:
-2020, The 74.North Norwegian Art Exhibition, traveling exhibition, Norway
-2020, Solo exhibition, Vadsø Kunstforening, Norway
Collected by:
-2014, National Museum of Art, Architecture and Design, Oslo, Norway
-2016, KODE-Art Museums of Bergen, Norway
Grants and Prizes:
-2016, Norwegian government grant for artists, diverse
-2018, The North Norwegian Art Exhibitions Jury Prize
-2019, Norwegian governments exhibition grant
-2018-2020, Norwegian government grant for artists
作品和设计说明
- 博德拜因
“ Bordbein”是从旧的小木桌（46x35x35cm）的腿上雕刻的胸针。胸针的背面有一根精钢针，借助两个银色部分精心安装。在挪威语中，“ bordbein”一词表示桌腿，因此“ bein”表示腿但也指骨头。曾经是现代餐桌的凡人遗迹。时间在飞速发展，社会及其对美的定义也在飞速发展……残肢被截肢的桌子可以用作胸针的底座，佩戴时可以将其从胸针上取下（将铅放到对面的桌腿中，使桌子站立起来）剩下的三只腿），因此胸针在不佩戴时成为装置的一部分。因此，这件珠宝既与人体有关，又与另一物体有关，连同它演变成装置的物品有关，与该物品所在的房间有关。按惯例，一件珠宝主要与人体有关，并且被隐藏起来。不用时放在盒子里。我希望这件珠宝能够发展/成长为一种艺术品，可以在可变的上下文中看到它，涉及到身体，房间以及其他物体。·Bordbein
“Bordbein” is a brooch carved out of the leg of an old, little wooden table (46x35x35cm). On the back side of the brooch there’s a steel needle carefully mounted with the help of two silver parts. In Norwegian language, the word “bordbein” means table leg, thus “bein” means leg but also bone. The mortal remain of a once modern table. Time is moving fast, so does society and its definition of beauty… The table with the brutally amputated leg can function as a pedestal for the brooch where it can be removed from when worn (lead placed into the opposite table leg make the table stand on the remaining three legs), thus the brooch becomes part of an installation when not worn. Thus the piece of jewellery relates both to the human body and to another object, together with the object it evolves into an installation, which relates to the room it is in. Conventionally, a piece of jewellery relates mainly to the human body and is hidden away in a box when not worn. I want the piece of jewellery to evolve/ grow into an art object which can be seen in variable contexts, relating to the body as well as the room and other objects.
- 材料（图6-10）
作品“材料”由3枚银制戒指组成。 它们的形状像驯鹿和麋鹿角。 这些材料曾经在世界范围内用于珠宝和其他人工制品。 金属的出现将鹿角上雕刻的形状转变成金属。 我居住的北欧地区的萨米人社会的手工业者仍然广泛使用鹿角，因此也发生了另一种变化。 鹿角物品适应了传统上用银制作的作品的形状。 从一种材料到另一种材料的转变让我着迷。 无论何时何地，它都是本地的，但也是普遍的。 “材料”是从银到鹿角，从鹿角到银的转变。 这是关于材料本身启发的形状。 “材料”生动地说明了珠宝制造中材料使用量的增长和演变。·Material (Pictures 6-10)
The work “Material” consists of 3 rings in silver. They are shaped like reindeer and moose antlers; materials once used all over the world for jewellery and other artefacts. The emergence of metals transformed shapes once carved in antler into metals. Antler is still widely used by the local craftsmen of the Sami society in northern Europe, where I live, thus there is also happening a transformation the other way; antler items adapt the shapes of pieces traditionally crafted in silver. I am fascinated by the transformation from one material into another. It’s local but also universal, now and then, here and there. “Material” is a transformation from silver into antler, antler into silver. It’s about shapes inspired by the material itself. “Material” is playfully illustrating the growth and evolution of the usage of materials in jewellery making.
- 日常谷物（图11-14）
新闻标题“中国生产者生产塑料大米作为向非洲的食品出口”，这是中国菜的主要内容； 大米和筷子，在木头，象牙和玉器上雕刻食物形状的丰富传统，宗教祈祷链的美感和一小部分无法定义的
人们的观念促成了“每日谷物”的创作，这是一条由38种米形元素制成的项链，每只手都用白色塑料筷子雕刻而成，并用人造的红色丝线编织而成。 它可以单独展示，也可以躺在带有白色筷子的塑料饭碗中展示。
人类的成长和进化正在导致其自身的破坏，一个充满危机的世界。 我们如何处理威胁信息的不断泛滥？ 我别无选择，只能将其用作灵感来源并将其转变为珠宝首饰…
- Daily grains (Pictures 11-14)
The news headline “Chinese producers manufacture plastic rice as food product export to Africa”, central elements of the Chinese cuisine; rice and chopsticks, a rich tradition in carving shapes of foods in wood, ivory and jade, the aesthetics of religious prayer chains and a pinch of indefinable
perceptions have resulted in the work “Daily grains”, a necklace made out of 38 rice shaped elements, every one hand carved out of white plastic chopsticks and stringed on an artificial red silk cord. It can be exhibited by itself or lying in a plastic rice bowl illustrated with white chopsticks.
Human growth and evolution is on the way to cause its own destruction, a world full of crises. How do we process a constant overflow of threatening information? I have no choice but use it as a source of inspiration and turn it into jewellery…
