Helena Hanna Perminger, born in 1987
Living and working in Stockholm, Sweden
I am fascinated by objects which have lost their given place and have become abrasive; they no longer fit. These seemingly ‘worthless’ objects find a place of value within my practice. Discarded animal remains, bones and antlers, get new life while their previous history becomes a part of their present. Textures, fragments and irregularities; accumulated and reconnected.
Why is something seen as unworthy and unrequited? How can I bring disgust and fascination together to nurture another desire, even fascination? I aim to challenge the familiar, the binary and ask questions about our relationship to our own vulnerability.
A critical aspect of my methodology is the collecting of materials and objects. This activity has grown to become an essential part of my artistic process. This act creates a close relationship to the materials I find and use, and their previous lives. They later become part of my work as models, parts themselves or references.
I move between techniques and materials utilizing both two and three dimensional media. By using existing organic forms or textures, I work instinctively and intuitively with the materials, focusing on detailed methods where form is given time to grow.
Living and working in Stockholm, Sweden
I am fascinated by objects which have lost their given place and have become abrasive; they no longer fit. These seemingly ‘worthless’ objects find a place of value within my practice. Discarded animal remains, bones and antlers, get new life while their previous history becomes a part of their present. Textures, fragments and irregularities; accumulated and reconnected.
Why is something seen as unworthy and unrequited? How can I bring disgust and fascination together to nurture another desire, even fascination? I aim to challenge the familiar, the binary and ask questions about our relationship to our own vulnerability.
A critical aspect of my methodology is the collecting of materials and objects. This activity has grown to become an essential part of my artistic process. This act creates a close relationship to the materials I find and use, and their previous lives. They later become part of my work as models, parts themselves or references.
I move between techniques and materials utilizing both two and three dimensional media. By using existing organic forms or textures, I work instinctively and intuitively with the materials, focusing on detailed methods where form is given time to grow.
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