Cecilia Jansson is known for her well crafted sculptures, big scale embroidery and drawings.
She exhibited last year (2015) at the Swatch pavilion at the Venice biennale, OpenArt biennale Sweden, Gallery Art Labor Shanghai and Kvarntorp Sculpture Park Sweden. She has been a head teacher in sculpture at Örebro Art College and a guest teacher at Yunnan Arts Institute Kunming, China. She was awarded with Örebro County culture prize 2015. Recent residencies includes Swatch Art Peace Hotel Shanghai, The Pottery Workshop Jingdezhen and most recent NARS Foundation NYC.
Behind my artistic practice lies an impulse to point out structures in society. Common behavior hides preconceptions and prejudices, as we sort each other into groups. Our basic need to put labels on people is worth investigating. What purposes do these labels serve?
I express myself mainly through drawing and sculpture. I often utilize time consuming techniques such as hand building porcelain, silk-thread stitching, carving large objects out of Styrofoam, or welding small pieces of metal into monumental structures.
Once I come up with an idea for a new project, I make a plan, which I follow strictly until the look and feel of the result corresponds with my original idea. I rarely make any changes during this process. On the other hand, unless an idea for a new artwork makes me uncertain of whether I will actually be able to produce the work or not, I lose interest. I like to put myself in unfamiliar situations, working in unaccustomed cultural contexts or with new materials. The things I already know become tools for exploring things of which I have no knowledge.
About the cultivation series
This project started with the idea of combining two materials – one representing a firm structure (as seen in society or nature) and one forced to adjust itself according to that structure – forming a coherent whole.
I ended up combining porcelain, a material I know well, with bread. Bread dough is in many ways similar to clay, but the final products, bread and ceramic, can be viewed as semiotic opposites. I made hand built structures in porcelain, into which I baked bread. The rising dough must conform to the rigid porcelain, and the organic element of yeast adds an unpredictable and living contrast to the sterile ceramic. I let the materials evolve together to form sculptures where both have an equal importance for the final shape.
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