Kakan Hermansson
We couldn’t be more proud to announce our collaboration and exhibition at FLD Gallery with ceramic artist Karin Kakan Hermansson. In addition to the exhibition we will also launch a small limited edition interior collection.
Solidarity and anti-racism is significant for multidisciplinary artist Karin Kakan Hermansson's distinctive, lovable personality. Her works are often commentaries on topics such as feminism, sexuality, identity and politics. Her interests also include the associations between craft, social identity and taste as a signal of social status. “Everyone has a relationship with craftsmanship.” Hermansson was born in Lund in 1981 and has lived in Stockholm for 20 years. She is educated at Konstfack (University of Arts, Crafts and Design), Ceramics and Glass 2006-2012, where she has been teaching as an assistant professor for 9 years.
Hermansson describes the exhibition as an excursion, an excavation, which carries historical references, idols and the artist herself.
The Exhibition Very Traditional was shown at Fine Little Day Gallery 23/3 – 28/4, 2024.
Q: Can you tell us a bit about your background and education in art? How did you develop such a strong visual identity?
A: It still surprises me today, that I would become an artist. I was never one of those girls who was good at drawing, and I couldn't sit still. However, we drew a lot at home, built different worlds and my dad made different inventions. Nothing was particularly good looking but it was free and fun. I was always interested in objects, collected small ceramic objects early on, and there was a lot of art at home, but becoming an artist was out of the question. I wanted to save the world's women by becoming a midwife, but when I went to Nyckelviksskolan in Öland for a year and, my teacher asked me, why should you be that? It's so stressful, become an artist! After Nyckelviksskolan, I finally entered Konstfack and after a year I understood that I could combine my political life with art. Then things cleared for me and I began to shape my artistry.
Q: How do you look at what you create, what is it that you create?
A: I have always been obsessed with communicating with my art, and clay is the perfect language for that. It is de-dramatizing with ceramics, because it is so everyday life. It has allowed me to discuss heavy topics from a relatively neutral base and get a directness with the audience. It's been everything from testimonies of violence to conversations about aesthetic values over the years. A cake plate about female abuse, nail art about rape. Everything is there. I want to talk to the audience, I'm not doing this for myself.
Q: What kind of thoughts did you have in your head when you worked with this exhibition?
A: The theoretical has long been my primary basis, form and color have always come second. Slowly but surely I have been able to meet all kinds of interests I have, and now something fun happened while working on “Very Traditional”. I started sketching and leaning towards my idols. I felt completely fulfilled by Ulrica Hydman-Vallien, Signe Persson Mehlin, Lisa Larsson, the pioneers of those who brought arts and crafts into the home. Partly out of form, but mostly I think it's about self-confidence to think that I'm part of the ranks.
Previously, I always knew what I was going to work with started in the studio, but now it crept up on me. I work intensively and quickly. Listens to rap or audiobooks and just keep going. Sometimes I keep them or throw away and reuse the clay. The big difference for me has been that I sat down at the turntable and included it in the work. I'm not that interested in the perfect and it doesn't really work when one turns, but I managed to solve it by building and sculpting on the turned objects. I have no control needs and it shows in this exhibition, I have tested things and let things grow. It feels like I'm developing in a fun direction, I'm surprised.
Q: The snake as a symbol, what does it mean to you?
A: Actually, it is a symbol of birth, death and rebirth. I think snakes are disgusting and difficult to decipher. But I like whats there there when I get to decide, like a rebirth of Ulrica maybe, a tribute. I can't praise her enough.
