__MAIN_TEXT__
feature-image

Page 1

NUOVA VITA T U R I D GY L L E N H A M M A R


Sculptures

Commissario | Interim Commissioner Comune di Pietrasanta | City of Pietrasanta Giuseppe Priolo

Segretario Fondazione Versiliana | Secretary of the Versiliana Foundation Giulio Battaglini

Presidente Fondazione Versiliana | President of the Versiliana Foundation Piero Di Lorenzo

Servizio Cultura | Cultural Service Comune di Pietrasanta | City of Pietrasanta Sergio Tedeschi

Presidente Onorario Fondazione Versiliana | Honorary President of the Versiliana Foundation Aldo Giubilaro

Servizio Turismo | Tourist Service Comune di Pietrasanta | City of Pietrasanta Marcello Forconi - Maria Paola Civili

Direttore Artistico | Art Director Massimiliano Simoni

Ufficio Stampa | Press Office Alessia Lupoli Nancy Barsacchi

Consigliere | Council Member Comune di Pietrasanta | City of Pietrasanta Paola Brizzolari Consigliere Delegato Fondazione Versiliana | Council Member Delegated to the Versiliana Foundation Maria Antonietta Di Benedetto Dirigente Area Servizi al Cittadino | City Manager to Citizen’s Services Comune di Pietrasanta | City of Pietrasanta Massimo Dalle Luche

Hanno collaborato | Have collaborated: Servizio Cultura | Cultural Service Comune di Pietrasanta | City of Pietrasanta Valentina Fogher Maria Dina Albiani Vanna Fortini Massimo Pierotti

Testi | Text Tone Kathrine Lyngstad Nyaas Turid Gyllenhammar Inger Sannes Almuth Tebbenhoff Keara McMartin Progetto grafico | Graphic Design Maren Holthe Gyllenhammar Crediti fotografici | Photo Credits Pål Raaum, Keara McMartin, Studio 47 Turid and Adele Gyllenhammar Inger Sannes, Emily Read Stampa | Print Kosana sas, Viareggio (Lu) Allestimento mostra | Exhibition Set Up Turid & Studio Sem Trasporti | Transports Studio Sem, Camaiore (Lu)

Cura della mostra | Exhibition by Turid Gyllenhammar

S.T.ART è il coordinamento delle attività ed iniziative culturali e di promozione turistica del territorio. S.T.ART is the coordination of the activities and initiatives related to Culture and to Tourist Promotion of the territory.

2

Con la cortese collaborazione di | With the kind collaboration of Studio Sem

Informazioni | Information Centro Culturale “Luigi Russo” Via S. Agostino, 1 – Pietrasanta tel. 0584/795500 www.museodeibozzetti.it


NUOVA VITA TURID GY L L E N H A M M A R 07 - 22 APRILE 2018

Sale delle Grasce Centro Culturale “Luigi Russo” Pietrasanta

3


Introduction

Oltre trenta ’vestiti’ in formato scultoreo rappresentano altrettante personalità diverse. Pietre mirabili e particolari, provenienti da diverse parti del mondo, formano il ’tessuto’ di questi abiti veramente unici, perché l’opera realizzata in pietra è sempre unica ed irripetibile. Molte donne in realtà vengono presentate attraverso queste inusuali sculture, che portano ognuna il nome di una persona differente. Ma diverse sono le idee, come la foggia di ogni abito, il movimento, l’apparente consistenza dei presunti tessuti, ricamati e non, le molteplici venature e preziose sfaccettature presenti nelle pietre. Mi congratulo con Turid Gyllenhammar per l’intuizione originale delle sue opere e per la loro resa e le auguro un positivo successo di critica e di pubblico per questa sua mostra personale “Nuova Vita” in Sala delle Grasce del Centro Culturale “Luigi Russo”.

Here are more than thirty ‘dresses’ sculpted in marble, each one representing a different personality. Extraordinary stones, coming from various parts of the world, form the ‘fabric’ of these dresses. Each stone is unique, so too are these intuitive works of art. Several women are presented by name in these extraordinary sculptures, each bearing the name of a different person.The ideas behind each change as does the style of every gown, the movement, the flow and the folds of the clothe, whether embroidered or not, in the same way as the multiple veins and effects in the stones. I would like to congratulate Turid Gyllenhammar on the creative originality of her art and for the sculptures. I wish her great critical and public success for her one-woman exhibition ‘New Life’ at Sala delle Grasce in the Cultural Center “Luigi Russo”.

Pietrasanta, April 2018 Pietrasanta, aprile 2018 Giuseppe Priolo Commissario Comune di Pietrasanta

4

Giuseppe Priolo Interim Commissioner City of Pietrasanta


Introduction

INTRODUZIONE / INTRODUCTION by Tone Kathrine Lyngstad Nyaas Curator and Art historian, Norway

Turid Gyllenhammar sta lavorando con una varietà di tecniche, quali ricamo, fotografia, pittura e scultura. Nelle sue installazioni, il ricamo applicato su vele usate racconta storie ed esperienze personali attraverso questa tradizione artistica femminile. Queste narrazioni frammentate si riferiscono a storie di donne, in cui i ricordi di infanzia e le esperienze di vita fin dalla maternità, intimi e vicini, giocano un ruolo centrale. Le narrazioni sono disegnate su vele monumentali, che in un contesto artistico possono essere interpretate come metafora dell’interazione umana con la natura e le sue forze. La storia marittima e l’attraversamento di grandi oceani sono associati con la sfera culturale maschile. Perciò, un contrasto interessante è stato posto creando un dialogo fra questi due mondi. La tecnica del ricamo è usata in un modo espressivo, con storie che riguardano la vita come in un viaggio nel tempo e nello spazio, un tema sostenuto dalle vele quali metafore di movimento e propulsione. Questo stato introspettivo di chi eravamo e di come il bambino in noi debba essere incontrato e portato avanti affinché riusciamo a diventare un tutt’uno, è un tema ricorrente attraverso tutta l’opera di Gyllenhammar. Lo stesso argomento è presente in Pubertà (2010), esposto all’Østlandsutstillingen, dove liriche e frammenti figurativi si sovrappongono per mostrare vulnerabilità, e come la pubertà, come tutti gli altri periodi di mutamento nella vita, sia un’espressione di

Turid Gyllenhammar is working with a variety of mediums such as embroidery, photography, painting and sculpturing. In her installations, the embroidery performed on used sails tell stories and personal experiences through this female artwork tradition. These fragmented narratives refer to histories of women where the intimate and close, childhood memories and life experiences from motherhood play a central role. The narratives are designed on monumental sails, which in an art context can be interpreted as a metaphor of human interaction with nature and its forces. Maritime history and the crossing of great oceans are associated with the male cultural sphere.Therefore, an interesting contrast is being created setting these two worlds in dialogue.The embroidery technique is used in an expressive manner, and as a drawing medium where figurations and selfwritten texts play along with the numerical identification on the sails.The stories are about life as a the journey in time and space, a theme supported by the sails acting as metaphors of movement and propulsion.The journey in time and life shows fragments of childhood a journey that moves through a landscape reminding us of the child within ourselves.This introspective state of who we were, and how the child in us must be met and carried on for us to be able to become whole, is a theme throughout Gyllenhammar’s work.

The theme of childhood in the shape of toys and interiors is expressed through a technique that gives associations to the home and a female sphere,

5


Introduction

movimento e del nostro viaggio attraverso la vita. Le vele diventano simboli della casualità della vita. Da quale angolo soffierà il prossimo vento e che cosa ci aspetterà al nostro prossimo approdo? I temi nel percorso artistico di Gyllenhammar ruotano attorno a questioni esistenziali relative all’identità femminile. L’esteso progetto relazionale: “Dignità e Valore della Donna” – una mostra relativa alla post-operazione di tumore al seno, è cominciata con lei che ha invitato 50 vittime di tumore al seno ad essere fotografate dalla fotografa Inger Sturlason, sotto la sua direzione artistica. Anche Gyllenhammar si trovò davanti ad una macchina fotografica, 16 anni fa, dopo che a lei stessa era stato diagnosticato un tumore al seno. Sono state fotografate e intervistate 20 donne in totale, creando così le basi per una serie di tessuti ricamati. Presso la Galleria Backer del College of Vestfold (2012), ha messo insieme fotografie e ricami di donne di tutte le età, che hanno subito operazioni per tumore al seno, dando così una faccia alla malattia. Dare al tumore una faccia umana è un tema raro nell’arte contemporanea ed il confronto diretto nelle fotografie, come il processo sociale richiesto, ha catturato il pubblico e ha creato grande attenzione. L’arte del ricamo ha rappresentato attraverso i secoli il ruolo della casa ed esprime sia le donne mature che quelle giovani. La mostra è divenuta un’affermazione nel dibattito politico per il trattamento equo delle donne con tumore al seno, nei termini di liste d’attesa per

6

terminating the movement of the sails.This silence addresses vulnerable topics clearly present in Puberty (2010), exhibited at Østlandsutstillingen, where lyrics and figurative fragments overlap in a collage where change creates a vulnerable expression. Puberty, as all other periods of change in life, is an expression of movement and our travel through life. Melting with the directions of the wind, a sense of wonder is created over life’s vulnerability, and the sails become symbols of life’s randomness. From which corner will the next wind blow, and what meets us at the next landing? The themes in Gyllenhammar’s artistry revolve around existential questions related to the female identity.The extensive relational project: Dignity and a Woman’s worth – an exhibition about post-surgery breast cancer, started with her inviting 50 victims of breast cancer to be photographed by the photographer Inger Sturlason, under her artistic direction. Gyllenhammar was also in front of the camera, 16 years after she was diagnosed with breast cancer herself. In total, 20 women were photographed and interviewed, creating the foundation for a series on embroidered cloth. At the Gallery Backer of the College of Vestfold (2012), she combined photographs and embroidery of women of all ages who had undertaken breast cancer surgery, giving the disease a face. Giving cancer a human face is a rare theme in contemporary art and the direct confrontation in the photographies, as well as the social process it necessitates, captivated the audience and created great attention.With the embroidery replicating the stings of the scar tissue from the surgeries, associations were given to a religious perspective where one is reminded of the various diseases of modern society and its martyrs. The embroidery technique was used to visualize an inner state of


Introduction

gli interventi chirurgici. Il progetto “Valore umano e valore delle donne – un ritratto del tumore al seno post-operatorio” (2015), in combinazione con questi eventi, ha dato il risultato di un aumento del supporto governativo di 50 milioni di NOK per gli ospedali universitari svedesi. Nel 2015 Gyllenhammar ha realizzato un mostra di antichi vestiti regionali da battesimo per una presentazione nella Chiesa Nøtterøy, intitolata “Guarda il mio Vestito” (2015), per un totale di 35 vestiti da battesimo, ognuno dei quali con la propria unica espressione di storie personali e tradizioni artigianali. Insieme ai vestiti, che pendevano dal tetto come angeli, l’artista ha interpretato il tema attraverso una collezione di sculture di marmo.

amputation and vulnerability.The stitches were performed with a minimum of effects and in simple functions, a technique associated with the legacy of female hand craft dating several centuries back in time.The proximity between the female gender, the simple technique and the stitches can be traced back to the original stitches after a surgery, making the embroidery itself a sign of vulnerability.These works did not make an apparition of the suffering through facial expressions and movement, but rather they were anonymous, and the viewer is left with only the needle’s perforation of the textile, the light shade of the cloth reminiscent of human skin.The art of embroidery, which throughout the ages has represented the role of the domicile, in the shape of doilies and dresses, to carry the beauty into what is average and every day, here takes another role as a dimension within the experience of a mature woman.

Durante gli ultimi cinque anni ha sviluppato questo motivo attraverso il suo lavoro in Italia. Essendo vicino ad una città dalle ricche tradizioni nelle arti, con numerosi laboratori di scultori e artisti residenti provenienti da ogni parte del mondo, ha iniziato un’elaborazione tecnica che si può vedere nella nuova mostra, “Vita Nuova”.

Something created to please and decorate has here become an expression for a painful life experience which even today contain elements of shame. By referring to her own experience, the exhibition became an important voice within the gender-political debate concerning the importance of shorter waiting lines for women having to wait up to ten years for reconstructive surgery after breast cancer.The protest that was held in front of Norway’s Parliament, where women displayed their scars, showed the inalienable dignity in women’s battle for the right to a new breast after cancer surgery. A Facebook page was created where women posted the scars after their surgeries, which was then immediately censured and removed by administrators. Even though the scar tissue covered the amputated breasts, the images were deemed as inappropriate and the site was taken down. The project: Human value and women’s value – a portrayal of post-surgery breast cancer (2015), combined with these events, resulted in an increase in government support of NOK 50 million to the Norwegian university hospitals.

La qualità della pietra, per quel che riguarda i suoi disegni innati e le sue sfumature di colore, è stata utilizzata in maniera discreta in modo da creare un’illusione tessile, una tradizione nelle arti che va a ritroso fino alle tradizioni scultoree romane del combinare marmi vari

7


Introduction

per una concentrazione illusionistica. Alcuni di questi vestiti creano associazioni con la leggerezza dei tessuti del vestito da battesimo, presentati nel duro materiale del marmo. Il contrasto tra i tessuti aerei, senza peso e la solidità ed il peso della pietra è evidente in tutte le opere. La serie dei lavori scultorei inclusi in “Vita Nuova” è realizzata con pietre marmoree differenti, provenienti da tutto il mondo, in modo da riflettere una prospettiva globale che esprima i diritti umani universali dei bambini. Il motivo ripetitivo di un vestito da bambina mostra che le parti pure ed innocenti dell’infanzia devono poter esistere in tutte le comunità. Questo motivo è una metafora di nuova vita, di speranza, e l’entrata in un futuro in cui la vita possa espandersi e fiorire senza soggiogamento, deprivazione e povertà. •

The child, and specifically the position of young girls in a global perspective is a topic which has always interested Gyllenhammar, already from the earliest embroideries expressing the role of the mother and the female identity tied to the domicile sphere.The book The Time it Takes (published by Gyllenhammar in 2009) shows a magnitude of these motives and her development from painting to the installation art of embroidery on sail and cloth.The dress as an expression of innocence, beauty, vulnerability and inauguration into the feminine sphere and space, is also visible in the artist’s earliest embroideries from the beginning of the 21st century. This motive gained a more prominent role in her artistic work after Gyllenhammar was asked to curate an exhibition of antique baptism dresses from the Vestfold region for a presentation in Nøtterøy Kirke, titled Look at My Dress (2015). Gyllenhammar collected a total of 35 baptism dresses, each with their own unique expression related to personal stories and handcraft traditions.The soft and light fabrics of the dresses hanging from the roof of the church in formations gave the impression of walking towards a choir of angels.Together with the dresses the artist’s own interpretation of the theme was exhibited, expressed through a collection of marble sculptures.  As a result of this exhibition, the dress as a motive took on a spiritual dimension as the symbol of a new life and the new life’s need for protection. During the last five years this motive has developed through her work at Studio Sem in Pietrasanta, a town located near the marble quarry Carrara in Italy. Being close to a city with such rich traditions in hand crafted arts, and with numerous sculptors’ workshops and residing artist from around the world has resulted in a formal and technical development which is evident in the new exhibition: New Life.  The quality of the stone in terms of its innate pattern and colour nuances have been utilized in a subtle fashion

From Turids exhibition of antique baptism dresses in 2015. 8


Introduction

to create an illusion of textile, a tradition in arts that goes back to roman sculpture traditions of combining various marble and types of stone in a sculpture where the illusionist focus was prevalent. Some of these dresses provide associations towards the light fabrics of the baptism dress, presented in the hard material of the marble.The contrast between the air-like, weightless fabrics and the solidity and weight of the stone is apparent in all the works, where contradictions meet and are dismantled in an illusionary game with a motive presented through a number of stone types. The transparent and impenetrable also create a special tension in the torso-like formations.There is no trace of the child’s anatomy, with the human aspect transferred into the dresses that inhabit a metaphor for the girls’ need for protection, their shield and armour in an unjust and ruthless world.This perspective is also expressed through the formal creation of Keara (2017) where the depth of the folds creates deep cuts that shape a threatening spearhead pointing towards the chest, made in the red Italian marble Breccia Medicea. In Adele (2017), the stone from Bolivia gives an impression of reflections emanating from the blue sky and the deeper colours of the galaxies of the universe in white thickened formations.The series of sculptural works New Life is devised in a magnitude of different marble stones from around the world, and through this reflects a global perspective which through a simple motive expresses the universal human rights of children.The repetitive motive of a girl’s dress insists that the pure and innocent parts of childhood must be allowed to exist in all communities. How can the seeds of the future be sown if its visions and daydreams are not allowed space? Every girl’s dream dress is also a conditioned upon culture, and the diversity comes to its right through the various structures and shapes innate in the stones.This motive is a metaphor of new life, of hope and the inauguration into a future where life may expand and blossom without subjugation, deprivation and poverty.    •

9


artist statement

Dichiarazione dell’artista Artist statement

10

T U R I D GY L L E N H A M M A R Artist

Il mio esordio di un vestito

The beginning of a dress

Un nuovo numero nella fila Una nuova pietra Una nuova forma Su di una superficie nuova Ogni volta affascinante allo stesso modo

A new number in the row A new stone A new shape On a new surface Equally intriguing every time

L’argilla scorre con leggerezza attraverso le mie mani Soffice, obbediente, malleabile Cottura Modelli per vestiti così delicati e fragili

The clay flows lightly through my hands Soft, obedient, malleable Firing Dress models so delicate and fragile

Il corpo si rafforza attraverso il duro lavoro fisico La testa si affina Lo scalpello scolpisce i segni Creando cicatrici Messo alla prova dalle opportunità Il filo invisibile Lentamente si materializza quale segno del tempo

The body strengthens through tough physical work The head sharpens The chisel carving tracks Creating scars Challenged by the opportunities The invisible thread Slowly materializes as a sign of the time

Guarda e osserva le linee e le forme Alla fine le raduna tutte assieme Le linee, il filo, l’infanzia, la giovinezza, l’adulto Figli, nipoti, vita e morte

Look and behold the lines and shapes At last bring it all together The lines, thread, childhood, youth, adulthood Children, grandchildren, life and death


artist statement

Pietrasanta Camminando attraverso la piazza Tutti gli incontri Le opportunità, così ovvie Con la storia antica dello scolpire La bici, il cibo e la cultura

Pietrasanta Walking across the piazza All the encounters The opportunities, so obvious With ancient history of sculpting The bike, the food and the culture

Ho cercato Helaine Blumenfeld e Knut Steen Più di dieci anni fa Donne norvegesi che scolpiscono pietre Keara e gli artigiani che accolgono in modo caloroso

Looking for Helaine Blumenfeld and Knut Steen More than ten years ago And found Norwegian women carving stones Keara and the artisans gave a warm welcome

Il profondo desiderio di creare arte con le pietre Ho viaggiato via e ho cominciato Ma prima l’Università a Vestfold, Tjølling Una scultura a Larvikitt

The deep desire of creating art with stones Journeyed away and got started But first the University in Vestfold,Tjølling A sculpture in Larvikitt

Studio Sem magicamente fornisce pietre fantastiche Segni e motivi di tempi antichi Verde, giallo, nero, rosa, bianco Soffice marmo di Carrara Alabastro Granito duro dalla Bolivia Avendo la sensazione del mondo intero attraverso le mie mani

Studio Sem supplies fantastic stones Marks and patterns of ancient times Green, yellow, black, pink, white Soft Carrara marble Alabaster Hard granite from Bolivia Feeling the entire world through my hands

Vestito da battesimo, vestito da sogno, vestito per bambini, vestito da principessa, vestito da sposa Il vestito quale tema in pittura e nei ricami per vent’anni I diritti delle donne I destini della ragazze Richiede protezione e attenzione

Knut Steen working with Studio Sem artisan Davide Cancogni, 2007.

Baptism dress, dream dress, child’s dress, princess dress, bridal dress The dress as a theme in paintings and embroideries for twenty years Women’s’ rights Girls’ fates Requiring protection and attention Text by Turid Gyllenhammar, march 2018 11


Dall’inizio

From the beginning

12

The story of the dress - Turid’s words

La storia del vestito - Le parole di Turid

As I grew up by the coastline in Norway, sailing has always been a big part of my life. In a family of seven, it was a way to escape the world in great company of my beloved father. In the same way I have always escaped into art. I started early with paintings and drawing, and had my first exhibition at the age of sixteen.

Mentre crescevo lungo la linea costiera in Norvegia, l’andare in barca a vela ha sempre occupato gran parte della mia vita. In una famiglia di sette, era un modo per scappare dal mondo in grande compagnia del mio amato padre. Allo stesso modo, ho sempre trovato rifugio nell’arte. Ho cominciato presto con dipinti e disegni, e ho presentato la mia prima mostra all’età di sedici anni.

A couple of years ago I found several old sail canvases in my attic.This triggered my lust of creating, and I wanted to make something completely different just for the fun of it. I am not sure why the first one became a dress. Maybe because of my daughters, or maybe my sisters? Maybe it is from a childhood memory, or an initial thought for the children who are deprived of a safe childhood. From the first dresses made with needle and thread, and embroidered with words from poems or statements, it has now developed into a new media. Another expressive art form for me as an artist. However, this time - not on the soft, worn, old sail canvas, but on hard stones from all over the world. Still as soft to the touch, and hopefully with a strong voice.

Un paio di anni fa ho trovato in soffitta diverse tele di vecchie vele. Questo ha acceso la mia brama di creare, e ho voluto realizzare qualcosa di completamente differente per puro divertimento. Non sono sicura perché la prima sia diventata un vestito. Forse a causa delle mie figlie, o forse delle mie sorelle? Forse deriva da un ricordo dell’infanzia, o da un iniziale pensiero per i bambini quale deprivazione per un’infanzia sicura. Dai primi vestiti creati con ago e filo, e ricamati con parole tratte da poesie o dichiarazioni, si è sviluppato ora in un nuovo materiale. Un’altra forma d’arte espressiva per me come artista. Ad ogni modo, questa volta – non sulle tele soffici e usate di vele vecchie, ma con pietre dure provenienti da tutto il mondo. Ancora così soffici al tatto, e sperabilmente con una voce forte.


13


14


Crediti fotografici | Photo Credits Studio 47 15


01 ALMUTH H. 52 cm x 23 x 22 in red Moroccan onyx

16


02 ADELE H. 46 cm x 26 x 22 in Sodalite (quartzite) (Bolivia)

17


03 MARGIT H. 60 cm x 27 x 26 in Arco Iris red onyx (Mexico)

18


0 4 C H A R LOT T H. 49 cm x 26 x 26 in Yellow Siena marble (Italy)

19


0 5 C H R I ST I N E H. 55 cm x 30 x 28 in Nero Marquinia marble (Spain)

20


06 FRANSISCA H. 55 cm x 27 x 29 in Arco Iris Yellow Onyx (Mexico)

21


07 I N G E R H. 56 cm x 27 x 27 in Pale Portuguese marble (Portugal)

22


0 8 S O LV E I G H. 60 cm x 22 x 32 in Estremoz marble (Portugal)

23


0 9 LO R E L L A H. 51.5 cm x 30 x 31 in statuario marble (Italy)

24


10 KEARA H. 50.5 cm x 34.5 x 33.5 in Breccia Medicea (Italy)

25


11 VIBEKE H. 50.5 cm x 34.5 x 33.5 in Rosso Laguna marble (Turkey)

26


12 TURID H. 51.5 cm x 30 x 31 in white marble Garfagnana (Italy)

27


13 HILDE H. 57.5 cm x 35 x 31 in Rosso Rubino marble (Italy)

28


Clay models of the sculptures

29


Turid cutting out roses for the sculpture ”Turid”.

30


14 GERD H. 56 cm x 35 x 35 in Travertine Oniciato (Italy)

31


1 5 JACQ U E L I N E H. 53.5 cm x 36 x 38 in Rose Onyx (Pakistan)

32


Jaqcueline working progress

33


1 6 TOV E E D. 2 H. 56 cm x 32 x 31 in Fazzoletto Onyx (Iran)

34


17 ELLEN H. 57 cm x 32 x 32 in Red Travertine (Iran)

35


18 ELSE H. 52 cm x 31 x 33 in Verde Guatemala (India)

36


1 9 TO N E H. 53 cm x 31 x 29 in Yellow Travertine (Turkey)

37


20 MAREN H. 52 cm x 23 x 22 in Sodalite (quartzite) (Bolivia)

38


21 THILDE H. 51 cm x 30 x 32 White Statuary marble (Italy)

39


22 ANNE-MAI H. 47.5 cm x 33 x 31 White Statuary marble (Italy)

40


The carrara mountains

41

Photo: Adele K. Gyllenhammar Raaum


23 INGRID H. 44 x 26,5 x 27 cm in yellow Travertine (Iran)

42


24 TO N J E H. 56 x 31 x 31 cm in Breccia Mediceo (Italy)

43


2 5 E L I SA B E T H H. 49 x 32 x 32,5 cm in Fluorite Onyx (China)

44


2 6 TO R I L L H. 49 x 32 x 32,5 cm in Calacatta Marble (Italy)

45


2 7 JA N E H. 52 x 29 x 29 cm in Port D’oro Marble (Italy)

46


Turid working in the garden at Studio Sem.

Photo: Adele K. Gyllenhammar Raaum

47


2 8 LOT T E H. 50 x 35 x 34 in Verde Guatamala Marble (Italy)

48


29 MARTINE H. 40 cm x 20 x 22 in Sodalite (Bolivia)

49


30 TRINE-LISE H. 53 cm x 25 x 29 in Verde Ming (China)

50


31 BERIT H. 53 cm x 32 x 33 in Blue Marine marble (Angola)

51


ADELE H. 46 cm x 26 x 22 in bronze

52


LITTLE QUEEN H. 24.5 cm x 11 x 12 in bronze

53


From exhibition in Pietrasanta, opening aprile 2018.

54


Exhibition Nuova Vita in Sale delle Grasce in Pietrasanta 2018

Photo: Adele K. Gyllenhammar Raaum

55


Turid at Studio Sem working on the new sculpture in the project Eta´Della Pietra/Stone age. Here on the sculpture “Selce”

Photo: Adele K. Gyllenhammar Raaum


From London exhibition RBS Summer Show 2018

From Exhibition in Tønsberg summer 2018

Turid working at Studio Sem, october 2018

From Exhibition in Tønsberg summer 2018

57


Henie Onstad, Kunst Rett Vest 2015

From juried exhibition in BĂŚrum Art Hall, april 2019 Photo: Emily Read

58

Drammen Museum, Kunst Rett Vest 2018

Turid working on sculpture for Hotel Continental in Oslo, 2019. New Project Stone Age.

From juried exhibition in BĂŚrum Art Hall, april 2019 Photo: Emily Read


Turid at Studio Sem working on the new sculpture in the project Eta´Della Pietra/Stone Age, here on the sculpture “Rashio”

Photo: Adele K. Gyllenhammar Raaum

59


Adele in bronze exhibited at Prosjektrom Vestfold Art Center, 2018

Turid dresses at Studio Sem, 2016

Bente dress - from the clay model, to the right stone for the final dress. 2019

Dresses and models at Studio Sem 2015

60


AX E H E A D P R OJ E C T Small axe heads from the first project, 2013 Axe head in the making, Studio Sem 2013

Axe head in marble made in 2013, in Norway

Axe head exhibited in Vestfold 2015

Axe head monument at Arendal graveyard

61


acknowledges

Parole gentili da... Kind words from...

I N G E R SA N N E S Presidente dell’Associazione Svedese di Scultura President of the Swedish Sculpture Association

Dal 2011 al 2018 ho avuto l’opportunità di seguire Turid nel suo lavoro presso lo Studio Sem di Pietrasanta e sono rimasta colpita dal suo sviluppo nella scultura in marmo e in pietra. Fin dal primo momento ha avuto un buon occhio per la forma ed è stata in grado di integrare con successo il suo lavoro precedente di pittura e di confezione sartoriale con la scultura. I vestiti di Turid sono un buon esempio di come lei sia stata brava a riportare la storia del vestito delle piccole bambine quale protezione dell’infanzia da presentare su tessuto (la mostra sugli abiti da battesimo e tele confezionate), pitture e scultura. Non vedo l’ora di vedere la collezione sui suoi unici vestiti colorati in marmo, pietra e bronzo presentati in una prima grande mostra a Pietrasanta nell’aprile 2018.

62

From 2011 -2018 I had the opportunity to follow Turid in her work at Studio Sem in Pietrasanta and I am impressed by her development in marble and stone sculpture. She had from the very first moment a good eye for form and has been able to successfully integrate her previous art work in painting and embroideries with sculpture. Turid’s dresses are a good example of how well she managed to bring the story of the little girls dresses as a protection of childhood to be presented in textile (christening robe exhibition and tailored canvas), paintings and sculpture. I look forward to see the collection of her unique colourful dresses in marble/stone and bronze presented in a first large exhibition in Pietrasanta in April 2018.


ALMUTH TEBBENHOFF FRBS member

Attendo la mostra di Turid con grande eccitazione. Ho osservato le sue sculture materializzarsi da piccoli bozzetti in creta ad opere lapidee meravigliosamente finite. Non ho mai visto prima delle pietre così splendide. Sono una combinazione ideale e armoniosa con il soggetto trattato, promuovendo così l’idea in modo ancora più approfondito. Auguro a Turid ogni successo dopo tutto il duro lavoro e la dedizione che è stata posta in questo progetto. Questa mostra rappresenterà un culmine non solo per la carriera di Turid ma anche per Pietrasanta.

I am looking forward to Turid’s exhibition with great excitement. I have watched her sculptures materialise from small clay maquettes to beautifully finished stone pieces. I had never before seen such gorgeous stones.They are an ideal and harmonious match with the subject matter, taking the idea so much further. I wish Turid every success after all the hard work and dedication that went into the project.This show will be a highlight not only for Turid’s career but also for Pietrasanta.

63


acknowledges

Grazie a ... Thanks to ...

64

Keara McMartin - per il suo aiuto, i suoi consigli ed il suo sostegno - senza Keara questo progetto non si sarebbe sviluppato fino a questo punto

Keara McMartin - who gave me so much help, advice and support - without Keara this project would never have come this far

... agli artisti ed artigiani di Studio Sem e a Lorella Santini

and many thanks to Lorella Santini and the artists and artisans of Studio Sem

Si ringraziano gli Uffici Culturali, Comune di Pietrasanta

Many thanks to the Uffici Culturali, Comune di Pietrasanta un ringraziamento speciale alla mia famiglia Pål, Maren, Adele e Fredrik for il loro contributo e affetto

many thanks to my family
Pål, Maren, Adele and Fredrik for their contributions and love

Alle mie sorelle Inger e Margit e a mia madre per il loro supporto

My sisters, Inger and Margit and my mother for their support

Un ringraziamento a Helaine Blumenfeld per avermi inspirato a lavorare in marmo

Many thanks to Helaine Blumenfeld for having inspired me to work in marble

Tove e Christian Anker-Rasch per il loro incoraggiamento per 40 anni

Tove and Christian Anker-Rasch for all their encouragement through 40 years

Tone K. Lyngstad Nyaas per le sue meravigliose parole


Tone K. Lyngstad Nyaas for her wonderful words

Marthe Lamp Sandvik per la sua traduzione


Marthe Lamp Sandvik and Fredrik Gyllenhammar Raaum for their translations

Un ringraziamento a Sebastiano Leta per aver cotto i miei modelli in creta

Much gratitude to Sebastiano Leta who fired my clay models

Hege Steen e Julia Vance per la loro amicizia e sostegno

Hege Steen and Julia Vance for being such a supportive friend

Alla Fonderia Artistica Da Prato ed a tutti i suoi artigiani

Fonderia Artistica Da Prato and all of the foundry artisans


acknowledges

Keara, Lorella and Turid 2014 at the Homo Faber Exhibition in Pietrasanta.

Fellow sculptor Eppe de Haan FRBS working at Studio Sem.

Turid and sculptor Helaine Blumenfeld FRBS, OBE

Ugo Antognazzi and Leonardo Buratti moving the onyx for “Tove”.

Always thankful for the heavy lifting at Studio Sem

65


Working on the largest sculpture of the dresses “Margit”.

Visiting the Marble caves of Carrara

Detail from working on the sculpture “Margit” at Studio Sem

Turids models in Studio Sem

66


ABOUT Turid Gyllenhammar MRBS – Royal Society of Sculptors MNBK – Association of Norwegian Visual Artists MVBK – Association of Visual Artists Vestfold County MTF – Association of Norwegian Drawing Artists MNK – Association of Norwegian Art Craft Artist MBKIB – Association of Bærum Visual Artists Deputy Chairman, Association Visual Artist Vestfold County

2014 Bærum Town Hall, Embroideries on 8 Sails 2012 Sandefjord House of Culture “Menneskeverd og Kvinneverd” Embroideries & Fotos 2012 University of Vestfold “Menneskeverd og Kvinneverd” Embroideries & Fotos 2011 Albin Up – Paintings 2010 Nøtterøy House of Culture - Paintings 2008 Haugar Museum Restaurant – Paintings 2007/2006/2004/2001/1999/1997 Gallery Skallum, Bærum, Paintings 2003 Ål House of Culture - Paintings 2002 Holmsbu Billedgallery - Paintings 1997 Gallery Hovde Asker – Paintings 1979 Tønsberg Kreditkassen, drawings from Caribbean

UPCOMING EXHIBITIONS 2019 Two sculptures exhibited in front of Hotel Continental in Oslo city centre 2019 Nuova Vita, exhibited at Atelier Gyllenhammar in Tønsberg with Galleri Kjedaas 2019 Christmas and Summer exhibitions for Vestfold Kunstnersenter (VKS) 2019 Kunst Rett Vest, autumn, Henie Onstad Kunstsenter ANNUAL, REGIONAL AND INTERNATIONAL EXHIBITIONS 2019 Hugget i sten, Akershus Festning, Oslo, 3 sculptures 2019 Bærum Art Hall, Art prize exhibition, 7 sculptures 2018 VBK Christmas Show, Tønsberg 2018 Lions Tønsberg (November) 2018 Kunst Rett Vest, Drammen Museum – Granit sculpture ‘Maren’ 2018 Royal Society of Sculptors Summer Show, London – Sculptures Keara, Lorella and Adele 2018 Bærum Art Hall, Art prize exhibition – Marble sculpture ‘Keara’ 2017 Bærum Art Hall, Exhibition «Cyclus», Embroideries on two Sails - «Out - In» 2017 Berger Art Museum, Kunst Rett Vest, Marble Sculpture “Inger” 2017 Bærum Town Hall, Marble Sculpture “Adele” 2016 Bærum House of Culture, Kunst Rett Vest, Bronze Sculpture “Maren” 2016/2015 Romeriksutstillingen, Bronze Sculpture “Adele” 2016 Dikemark, Kunst Rett Vest, Collection of Embroideries “Refugees” 2015 Hennie Onstad Art Museum, Kunst Rett Vest, Alabast Sculpture “Life” 2014 Fossekleiva Art Museum & Berger Museum, Marble Sculpture “Vår” 2008/2009 Biennalen for Artwork of Eastern Norway, Embroideries on Sails 2008 Østlandsutstillingen, Embroideries on Sails exhibited at; Vestfold Artcenter, Østfold Artsenter og Fossekleiva Center of Culture and St. Annen Museum & Kunsthalle, Lübeck, Germany, SOLO EXHIBITIONS 2018 Pietrasanta, Sala delle Grasce di Sant´Agostino, 26 Sculptures and embroideries Nuova Vita 2018 Nuova Vita / Nytt Liv, Atelier Gyllenhammar, Tønsberg, Norway 2016 Bærum Municipality various Institutions, “Den Kulturelle Spaserstokken” 11 solo exhibitions 2015 Nøtterøy Church/Vestfold BishopShip: “Se min Kjole”, curated baptist dress exhibition 2015 Bærum House of Culture: “Menneskeverd og Kvinneverd” Embroideries & Fotos (Breast cancer Project)

1971 Tønsberg Mini Gallery – Paintings COLLECTIVE EXHIBITIONS 2018 11th Edition The Art of Embroidery, Parco e Villa La Versiliana, Pietrasanta 2017/2015/2013/2012/2011/2010/2009 Vestfold Art Centre, Tønsberg, juried Summer Exhibitions of sculptures, embroideries and paintings 2017 Marienborg, Holmestrand, Summer Exhibition, Embroideries on Sail and Canvas 2016 Nesodden Art Association, curated and juried Exhibition “Waterways”, 2016/2015/2014/2009 Vestfold Art Centre, Tønsberg, juried Christmas Exhibitions 2015 Bærum Town Hall, Paintings 2014 Sant`Augostino, Pietrasanta, Homo Fabre, Sculptures representing Studio Sem 2014/2009 Oslo Open, Fotos and Embroideries on Sails 2013 Vulkan Gallery Oslo, “Knitting and Embroideries” Embroideries and Fotos 2013 Association of Norwegian Drawing Artists, Oslo, Drawing with Needle - Embroideries 2013 Verdens Ende Art Association, Tjøme, Paintings 2012 PopUp Gallery Sandefjord, Sculptures and Embroideries 2012 Kunstland, Søndre Land, with Markus Brendmoe, Embroideries 2011 Association of Norwegian Drawing Artists, Oslo, Paintings 2011/2010 Atelier Gyllenhammar, Tønsberg, Paintings 2008 Atelier Gyllenhammar, Tønsberg, Paintings together with Øksendal, Nerli, Berg, Kuhn 2007 Graduate Exhibition DTK Institute for Creative Art College, Bærum, Paintings 2000 Jølster Art Gallery West Norway, Paintings EDUCATION AND PROFESSIONAL BACKGROUND 2012 - Studio Sem, Pietrasanta, Italy 2008 University of Vestfold, Sculpturing in Larvikitt Granite 2006 University of Bergen, Art History (1 Semester) 2003 – 2007 DTK Institute for Creative Art College, Bærum 3 Years full time studies – Graduate Level 1986–2000 Student of several professional artist (Markus Brendmoe, Anne Katrine Berg, Rolf Nerli) 1986 – Various work shops and projects in Norway, Italy, Spain and Portugal. 1977 Tønsberg Design and Art College, Dress and Costumes. For full CV, go to www.turidgyllenhammar.com

67


“Little Queen” h. 24, 5 and “Queen” h. 65 White Statuary marble (Italy)

Plaster models from Turids work.

Turid working on “Margit”

“Inger” displayed in Tove and Christian AnkerRasch’s livingroom.

68


KEARA MCMARTIN Director Studio Sem Scultori Associati Srl

Dal momento in cui Turid ha iniziato a lavorare allo Studio Sem non si è risparmiata, da vera Norvegese: tagliava, smerigliava, lavorava a ferro e finiva le sue sculture. Incuriosita dalla molteplicità delle pietre differenti cercava di carpirne le proprietà ed i limiti di ciascuna. Ho visto i vestiti di Turid per la prima volta in una foto che lei mi ha mostrato; era un insieme di abiti per bambini ricavati da tessuto in Dacron, quello utilizzato per le vele delle barche con tanto di numeri rossi adesivi applicati e inserto in materiale plastico cucito alla vela per la visibilità. I vestiti cuciti con questo tessuto erano talmente rigidi da riuscire a stare in piedi da soli, facendomi vedere forme che potevano essere tradotte in marmo. Con i miei 30 anni di esperienza lavorando i più diversi e variegati materiali da tutto il mondo, ho suggerito a Turid che i “Dresses” potevano essere realizzati in onice, marmo, travertino e granito. Per qualsiasi altro genere di scultura, l’onice colorato e pesantemente venato avrebbe offuscato la scultura, ma per i “Dresses” di Turid, questa tipologia di pietra si adattava perfettamente al contenuto. Abbiamo così intrapreso insieme con entusiasmo questo percorso di ricerca di materiali, visitando piazzali di stoccaggio di pietre delle ditte locali, nella speranza di trovare il blocco perfetto per i “Dresses”. Turid ha così iniziato a realizzare piccoli modelli in creta e a mano a mano che andava avanti le ho insegnato quello che sapevo sulle differenti proprietà delle varie pietre in modo da adattare i modelli ad esse. Il progetto iniziato così come esperimento è diventato una fantastica visione, con pietre provenienti dal Pakistan, Marocco, Spagna, India, Turchia, Bolivia, Italia, Portogallo, Iran e Messico. Turid ha solamente scalfito la superficie delle infinite diversità dei materiali che potrebbero essere utilizzati per creare nuovi “Dresses”. Sia io che gli artigiani di Studio Sem abbiamo veramente apprezzato la collaborazione con Turid. È stato un duplice scambio: nel darle una guida tecnica e la nostra competenza, ne abbiamo beneficiato nell’accrescere conoscenze su nuovi materiali. Sono molto orgogliosa della creatività di Turid e della sua perseveranza e audacia nel perseguire la sua visione.

From the moment Turid began working at Studio Sem she was hands on; cutting, grinding, chiseling and finishing her sculpture in the true spirit of a Norwegian. She was curious about different stones and sought to understand the properties and limitations of each. The first I saw of Turid’s dresses was a photo she showed me of a group of child’s dresses made from Dacron sailcloth with the adhesive red numbers and even plastic from the windows sewn into the sails for visibility.The Dacron dresses were rigid and stood on their own, combined with seeing her clay model, making me think they presented form that could be translated into marble. With my 30 years of experience working in dozens of stones from all around the world, I was excited to suggest to Turid that the ‘Dresses’ could be made into onyx, marble, travertine and granite. For most other genre of sculpture, the colorful and wildly veined onyx would dominate the work, but for Turid’s ‘Dresses’, these stones are uniquely suited to the content. We were both excited as we embarked on the search together, travelling to local stone yards in search of unique blocks to make the ‘Dresses’. Turid began making small models in clay and as she worked I taught her what I knew about the different properties of the stones so that she could adapt the models to them. The project that started out as an experiment has expanded to become a fantastic vision, with stones coming from Pakistan, Morocco, Spain, India,Turkey, Bolivia, Italy, Portugal, Iran and Mexico.Turid has only just begun to tap into the stones of the world she could use to create new ‘Dresses’. Studio Sem’s artisans and I enjoy a true collaboration with Turid; lending her technical guidance, our knowledge, resources and best of all learning about new stones ourselves along the way. I am very proud of Turid’s creativity and her perseverance and fearlessness in following her vision. 69


Dedicated to all the strong women I know Dedicato a tutte le donne forti che conosco

Turid Gyllenhammar

70

www.turidgyllenhammar.com

turid.gyllenhammar@mac.com

Profile for turidgyllenhammar

Nuova Vita - Turid Gyllenhammar  

Art and sculpture. Take a look at artist Turid Gyllenhammars art universe with this catalogue made for her project Nuova Vita and exhibition...

Nuova Vita - Turid Gyllenhammar  

Art and sculpture. Take a look at artist Turid Gyllenhammars art universe with this catalogue made for her project Nuova Vita and exhibition...

Advertisement

Recommendations could not be loaded

Recommendations could not be loaded

Recommendations could not be loaded

Recommendations could not be loaded