23 carved wood objects constitute the basis of this work, which is a development of my previous work Soma. Part 1.
The installation attempts to transfer a physical and mental feeling where there is a gap and a lack of contact between the mental and physical body.
There is a communication between objects and materials where they interact in a number of ways, but there is also a clear lack of contact between the different parts.
The work responds to the energy that the viewer constitutes and creates small movements in the hanging cylinders when there is movement in the room. ere is a contact between viewers and works, viewers and materials, viewers and the creators of the piece - a silent conversation.
The outside of the third ventricles floor
Utsidan på tredje ventrikelns golv. Ongoing project.
Thousands of threads have been woven into sculptural bodies. The pieces respond to the viewer’s presence by generating movement.
An attempt to create a visual image of an abstract sense of the consciousness relation to the physical body.
No title. 2016
This work is trying to put words on female mental illness and the wounded soul’s contact with the outside world.
What is madness? Or, rather, what does the female madness look like, how does it feels and how can it be portrayed?
What does the shifs look like between the person and her illness? How is female madness created? Whose picture of reality counts?
Soma. part 1
The work is an attempt to dismantle the body and destroy the contact between the direrent parts and thereby change its appearance to portray the sense of unreality that the body generates in.
Thee sculptural work is changing and can be constructed in a variety of ways.
The construction is an organic form with bonelike parts. But none of the parts have any physical contact with eachother but is completely independent. I want to talk about the contact and the lack of contact in this work. The sculpture tells the story of a body, like an organism in which there is a clear gap in the structure. I work with light installations in order to change the shape of the piece. The parts move slowly and its movement influence each other so the constantly is a slight movement in the sculpture. The viewer's presence makes the parts move slowely. There is an interaction between the sculptures parts, the whole work, the viewer and the room in a symbiosis.
In nature. Part 1 of 3. 2017
Text and image: Jennifer Bergsten
The book wants to make a comparison between the perceived body and nature. It is an attempt to find oneself with the help of nature by making this comparisons.
In the body
I kroppen In the body. Part 2 of three. , 2016.
Text and image: Jennifer Bergsten
The book explores how it feels when our body doesn ́t obey us, when it behaves in a way that frightens us. How does it feel when the body breaks or gets sick? And how does it feel when we don ́t have control over our own body?
Women embroidered because they were naturally feminine...
“Women embroidered because they were naturally feminine and were feminine because they naturally embroidered.” Ongoing project
Sewing as an action contains a lot of women’s history and can add a sense of community. In the book I devote myself to the time-consuming act of sewing with my own hair.
In the work, I try to look at the act of sewing as something identifying and someting that form a self and a persona. e handwork is associated with femininity and the hair as a symbol of erotic and femininity. In- terestingly, the hair works to a great extent (and has worked) as a means of communication for social status. Hair generally marks our age and health. Hair loss, thin and gray hair are associated with getting old and lifeless. Dry hair is strongly linked to, for example, malnutrition, infection and stress. e hair is historically linked to our identity and allows us to express a personality. It has a protective and warming function and can be a way of communicating. To shave o your hair has historically been a way of showing sadness or shame. Globally, the woman’s hair is carriers of cultural and religious signi cance. e hair that no longer is on our head is seen as someting weird and disgusting.
Sewing historically was strongly associated with femininity and there was a standard that those who were not t were not female. ere was an ideal that girls and women should not be idle but always have something in their hands.
Sewing in modern times is o en seen as a political tool. e needle becomes a symbol of women’s anger over female oppression and for a pride of being a woman.
In the work I want to develop these questions and argument, but also develop the work itself.