Linus Björnberg


Linus Björnberg

Mail: bjornbarg89 [at] Instagram: "Oddbutton"
Konstnärligt kandidatprogram i textilkonst, TBA3


Photo shoot from New Years Eve ringing in 2013. Picture retouched by Daniel Nilsson.

Exam project - "the Power Suit Project"

Mitt konstnärskap består av tre ämnesområden i symbios med varandra: kropp, kläder och identitet, där essensen ligger i skapandet av dräkter, kostymer och kreationer samt i uppträdandet iklädd dessa. ”Textil” för mig handlar om det kroppsrelaterade bärandet, alltså inte nödvändigtvis om textila material. Jag söker efter säregna metoder, spännande material och nyskapande koncept för att klä in, täcka, skyla och maskera kroppen där komplexiteten i byggandet och originaliteten i uttrycket utgör grunden för mitt projekt och göder min fascination för bärandet/uppträdandet. Fascination för uppträdandet rotar sig i effekten av den direkta aktionen, i den performativa atmosfären som jag skapar när jag träder i mina kreationer och intar det offentliga rummet. Genom att låta performativiteten genomsyra mitt artisteri och mina aktioner filmas och fotograferas dessa genom min mobilkamera för snabb och direkt dokumentering samt delning till den digitala publiken för att fånga effekten i nuet. I detta projekt riktar jag fokus mot att undersöka bärandet av mina dräkter, det performativa artisteriet – vad jag identifierar mig med inom ramarna för uppträdandet i dem, alltså att söka efter min identitet i mitt arbete. Fascination för uppträdandet rotar sig i effekten av den direkta aktionen, i den performativa atmosfären som jag skapar när jag träder i mina kreationer och intar det offentliga rummet. Jag kommer därmed arbeta med och färdigställa de dräkter som jag redan har i stället för att skapa nya.

suit #7 | the Goalkeeper

Being an art student also includes being some sort of therapist, everything you do and create is a mirroring of your personality, things you like, your behavior, your history, surroundings etc. There for you must be true to your unique way of relating to your work, listen to it, question it and criticize it. You must always refer to own thoughts and reflections about the relation between idea and object while the practical process is in progress to be aware of your approach - keeping one eye on the goal which the project is (might be) directed towards at the same time as you must be responsive to how the project communicates to you and its surroundings during the process. In this course I wanted to enlarge my project which includes my body- & clothing related artwork by expanding my view of my raw material through a material research of plastic and leave my obsession of the "whole body suit idea" to find other possibilities and new discoveries of how to create a suit and how to cover the body.

"Imse vimse spindel"/"Itsy bitsy spider"

The paraphrase course autumn -13. Three genres of jewelry: woven brooches and brass needles. Three pairs of cufflinks (porcelain and copper through electroforming and wax burning, porcelain and titanium and the final pair, porcelain and silver) and a ring made of silver and an amethyst, electroformed together. Verdigris (ärg) added through copper sulfate. Exhibited at Röhsska Museum 19th of Nov - 23d of Feb.

suit #6 | the Packman

My creation of bags started out as a material experiment and practical detail inferno but ended up in a new deeper discussion about identity. I picked the bag as a new raw material for me to work with to enlarge my view of practicing it but also from it's symbolic value of the baggage which we carry with us, both as humans and individuals.

Form and Function

A project where I see to things form and function, transforming shape and/or their abilities to create something new.

Remfabriken (the Ribbon Factory)

During the semester in spring -13 the textile department was invited to work and exhibit at Göteborgs Remfabrik, Mars and April. I wasn't fascinated at all by the place and its history but I got interested of an old braiding machine in which I started to encrust sticks. Since my project went on being an investigation of practical character; "Will this even work and if so: how will I pull it through?", I decided to perform in my workshop during the Vernissage of the exhibition, acting a machine supervisor dressed up in the "regular" fatigues, welcoming visitors to take part of my installation and project.


In the Interaction course in which all craft students in the second year are introduced to each others departments I was mesmerized by the electroforming in the jewelry workshop. these are images of rings and tie pins which are electroformed copper wire. The tie pins are the remaining wire which was attached to the rings during the process. Also I made a wasp out of wax and wings from a cocktail umbrella just to widen my view of the many capabilities of the technique.