Excerpts from the evaluation from the living artists 2021

Mothers in Residence 2021

May - June: Sofi Svensson and Pernilla Eskilsson

August / September: Tove Nankler

October / November: Lina Gråskär and Statira Jazayeri

Has this residency given any impact / results to my creative work and my conditions? .

Yes absolutely! Maybe not primarily, as you might assume, with premises but rather for me it has been about visibility, I have taken big steps  on the way to becoming clear to myself and others. Partly by answering carefully asked questions as in the interview and as now and partly through the crit meetings that I feel have been valuable. There I get a chance to tentatively formulate myself in a permissive and disarming context.


Have I learned anything about my own practice / way of working? What experience do I bring with me?

"Yes. I find it easier to work efficiently when I have a form like this residence and a deadline for my work. It's something I will take with me and work to get back to ”.

Has the Mothers in Residence

network been an advantage?

- In what way, then?

I have made contact with new people

in about the same situation as myself

and it's incredibly rewarding.


What do you take with you after this residence?

I have more respect for my process,

to let it take up both time and space

and feel more proud of the work I do.




How had you prepared yourself / the project for the residence?

I had collected sketches that I had made during the year before the residency and formulated a loose plan of what I wanted to do during these weeks. My input in the project was mostly to start working after parental leave and put myself in the center instead of the family.





















Did you discover anything new with your way of working or communicating during your residency?

My need to be myself and work quietly, I did not think I had that need.

Have you learned anything about your own internship / way of working?

What experience do you bring with you?

To work on a surface not adapted for ceramics and how easy it can still be. Also to try to be freer in starting a job, to "just build on and see what happens".


















Has the Mothers in Residence network been an advantage? - If so, in what way?

Definitely an advantage, to get to know new acquaintances in a group that brings us together with a fairly loose framework, motherhood. Getting in touch with artists I might not otherwise have encountered and just being able to talk to each other and share experiences.

Did you attend the crititque meetings? Were they helpful / relevant?

Yes, they're great!

The times I have not been able to participate have felt super boring, I try to prioritize them.

That they are regular once a month feels good and just right often. A

s previously mentioned, it feels valuable to have a context, albeit at a distance where it is possible to raise things, seek advice, test ideas or just talk.

Was the pot unit allocated, and the workshops you joined at KKV useful?

As it was, I mostly worked in the MiR studio and did not have time to burn so much before the residence period was over. But I was pleasantly surprised that there was a pot and wish I had used the department more. Right where I was at work last summer, there was not much need for the ceramics department.


How did your motherhood affect you

and the residence / did you

experience support from home?

Both and, could definitely have had more

support which would have facilitated

enormously. At the same time, things

happened  that none of us could influence

and then prioritize projects which

provides income.

More than I already got.

Have you learned anything about your

own practice / way of working?

What experience do you bring with you?

To always prioritise myself and my needs first


Has this residency given any impact / results to your creative work and your conditions?

It definitely has. It has been very rewarding to have a physical workplace to go to that is outside the home. Especially in a context like KKV where you can get to know other artists and have access to workshops. It is a very nice and generous context to be in, the atmosphere feels a bit like being back at school but now it is colleagues you meet who are of all ages.

And the fact that there are members of all ages with different craft orientations makes it a fun and dynamic workplace.




How had you prepared yourself / the project for the residence?

Loose thoughts. Thought about different orientations on things I want to do.


How did motherhood affect your residence / did you experience support from home?

Yes always. I was probably a happier and more relieved mother when I had a studio to go to.


Did you carry out the described purpose of your residence / project you wanted to carry out during the two months? (Had a month been enough?) -

When I applied, I wanted to use the time to train myself to work less performance-oriented. Have more fun. Quickly sketch on different compositions. And that's exactly what happened iom that I did not have anything concrete in mind or worked towards an exhibition. The studio became my safe space. One month is far too little. Two months feels right.


During this time as a Mothers in Residence, I have reflected on how much my motherhood

has influenced my artistry ”


















I n the book Dad and the Sea by Tove Jansson (1965), I recognize myself in the Moomin mother. In the book, the Moomin family moves to an island far away from the Moomin Valley. The island is barren and it is not possible to grow there. The Moomin mother misses her garden and all her flowers. She chose to leave her secure life in the Moomin Valley for her father's sake. He longed for the sea all the time and now the roles have changed. The Moomin mother begins to paint flowers on the walls of the house. She finally depicts her entire garden in the Moomin Valley.

The painting of the garden becomes her own project and comfort that is not for anyone else, which is a new side of the Moomin mother who has previously looked at everyone else's needs in the first place. One day when everything is extra awful on the island, the painting becomes real and she manages to go into the garden. Like Tove and the Moomin mother, I want to open a canal into another place. A place that is physically impossible to be in. A place where my ideas and thoughts are worn, bumped, relaxed and become new fragments that are re-bound in non-existent functions. I think Tove describes some of the difficulties with balancing motherhood and following her own dreams, as a mother it is often that you need to put everyone else first. I can feel that if I prioritize art, I'm a bad mother. A feeling I think the artist fathers rarely feel. At the same time as I wrestle with a bad conscience, I want to show my children that it is possible to invest in their dreams and dare to believe in themselves. ”




Pernilla Eskilsson Gibca 2021 `Potatisparaden´med Elin Flognman
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