KARIN TÖRNELL

Artist and sculptor Karin Törnell presents an in-depth exploration of the connection of experience to form and materiality. With a clear decisiveness, she reaches toward elusive human perceptions. Kiln-cast glass is a recurring and often structural element in the studio-based works, which are presented at exhibitions in Sweden and abroad. At the same time, she works on a large scale with public figurations, most recently for Citybanan in Stockholm and the European Court of Justice in Luxembourg.

BIOGRAPHY

Atist and sculptor Karin Törnell presents an in-depth exploration of the connection of experience to form and materiality. With a clear decisiveness, she reaches toward elusive human perceptions. Kiln-cast glass is a recurring and often structural element in the studio-based works, which are presented at exhibitions in Sweden and abroad. At the same time, she works on a large scale with public figurations, most recently for Citybanan in Stockholm and the European Court of Justice in Luxembourg.

In 2001 Karin received the Glass Art Society International Emerging Artist Award for her combination of work with purely sculptural glass and its clear connection to large-scale sculptures in public settings. She developed her sterling expertise in kiln-cast glass and its technique in 1997 through advanced studies at CCA in San Francisco. Otherwise, she considers the technique to be of limited interest. It is a tool for achieving artistic freedom.

Time is an important component of the process. The technique is often time consuming, but the artistic process also requires time to find an expression of naturalness and resting weight. The long and continuously investigative process takes place in her studio in Stockholm, where ideas are developed and a great deal is produced. Most of her work with glass is done by hand, but for pieces for which the equipment and technology in Sweden are insufficient, she has a partnership with the Czech Republic. Her work has been shown in numerous solo exhibitions, most recently at Galerie NeC in Paris in 2014. Each show is itself a work of art, where the individual components form a specific, temporary collection in the exhibition space. This is reflected in her method of numbering each piece and titling them with the name of the exhibition.

Karin’s first public piece was completed in 1996, when as a student at the University College of Arts, Crafts & Design, she won a contest for an assignment for Garnisonen on Karlavägen in Stockholm. In the large-scale projects, the materials and techniques vary significantly depending on the conditions. At Station City, Citybanan 2017, the monumental sculpture “Fotfäste” (Foothold) is built in Corian, and the walls consist of several layers of laminated sheet glass with thousands of pieces of straw in between.

VITALA DELAR

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