BFA examination work, Konstfack. Three parallel investigations into what happens when digital processes are given physical form. A neural network trained on my own photographs. An evolution simulator that breeds organisms. A WiFi sensing system that detects presence through signal disturbance.

Each system produces output that gets translated into glass, sand, and space. The installation brings all three together in a single room where code, material, and body coexist.

Six blown glass objects arranged in casting sand with a shovel. Each object was blown from an AI-generated image, translating the neural network's flat output back into three-dimensional glass with depth, color, and weight.

The sand is both display surface and material memory. The shovel is an invitation and a tool. The latent space is the mathematical landscape where the AI stores everything it has learned. Walking through it means moving between possible images that have never existed.

A digital ecosystem where organisms are born, compete, reproduce, and die. Each creature's body is defined by DNA built on a mathematical formula that describes natural forms. They evolve through sexual reproduction and mutation. No fitness function, just survival.

The surviving organisms are exported as 3D files, printed, and translated into glass or electroformed in copper. Digital evolution made physical.

A neural network trained from scratch on my entire camera roll. 7 843 photographs of my life, not curated art images. Nine months of training on a single consumer GPU, my own code. No pre-trained models, no commercial AI services.

The network generates forms that look like my world but are not. I take those images and translate them back into glass, giving the flat output depth, weight, and the ability to filter light. The camera roll went in. Something else came out.

Four microcontrollers send WiFi signals through a room. A human body disrupts them. The system reads these disruptions and renders presence in real time without cameras, without contact, without consent.

The body becomes visible through the interference it causes. Stillness is a signal. Movement is information. The installation asks what it means to be sensed without being seen.

A glass that is not quite glass, fired in a plaster-quartz mold. Frit-based recipes that melt into a dense, translucent mass somewhere between glaze and cast glass. The borderland between glass and ceramics.

Ongoing material research. Each firing tests a different ratio of flux, silica, and alumina. Some become transparent. Some remain opaque. The failures are often more interesting than the successes.

Average temperatures from the day and location of a birth generate a kiln program. The glass bubble formed by this program carries the thermal signature of a specific moment in time. A birth journal translated into heat curves.

One blow gives two glasses. The cup is blown in a plaster mould that sets the volume, and above the mould the cap swells out freely. The glass is cracked at the middle: the lower part becomes a drinking glass, the cap becomes the coupe of a party glass, mounted warm on a stem and a foot formed freehand. What would otherwise go back to the melt is a second product. Perennial. The base form mutates between rounds.

The project questions disposability. A drinking glass is considered worthless when chipped. But chipped glass is still glass. It can be reborn.

Three sculptural heads. Scold's bridle, corset, and crown. Historical instruments of control and power applied to the female form, cast and blown in glass and ceramic. Shown at Scout Art 2025.

Digging into the roots of ANT (Actor-Network Theory). The pedestal is cast pewter, the stem a medical model of a brain stem turned upside down, the dome a sawn-off repurposed Indian ceremonial bell, split in two.

Flippable plates with inverted patterns, one for rich one for poor. The work questions the rituals of class, the performance of civility, and the hierarchies embedded in domestic objects.

Tea time as a site of both connection and exclusion. The brain stem suggests that our social behaviors are as hardwired as our biology.

An optimized route across Östermalm, centered around the Karlaplats fountain, between all the favorite places of my patients in home care, focus: Alzheimer's and dementia. A new topography of mind and memory.

The pewter frame cast from a 3D-printed mold. Silvered glass mirror. Brian Eno's Always Returning plays in the installation.

The work maps care labor onto urban space, making visible the invisible routes of those who tend to the elderly and dying. Each stop on the route holds a memory, a preference, a habit. The mirror reflects both the viewer and the absence of those who are gone.

Glass lollipops shot to pieces with an air pistol. Looping video in a hand-sewn circus tent blown in glass in a welded steel mold.

Inspired by an American teacher's TikTok video: the advice for school shootings is to put lollipops in the box to give children during shootings, a child who is eating cannot scream. The Trangsund shooting. Shootings in Stockholm. I was pregnant during the project, the child is now born.

Porcelain child's head filled with dripping red caramel. 3D-printed disassembled weapons. A "dead" white and pink elephant. Shown at What We Do Not See, Konstfack 2024 (in collaboration with Stockholm Police).

The work refuses to look away from violence against children, using the sweetness of candy and the spectacle of the circus to create unbearable contrast.

Tests with abstractions and variations of control through objects and forms. An ongoing series of experiments that don't fit neatly into other projects but inform them all.

Some pieces explore texture, others explore color, others explore the relationship between interior and exterior surfaces. The work is deliberately unfocused, allowing for serendipity and accident.

Not everything needs to be a project. Sometimes making is just making.

Glass is a material where breath can act as a resisting force, and glassblowing can therefore be an act of active presence. One can build or represent a framework that the glass can push against and expand through, or follow.

Forms for a woman: scold's bridle and corset. The glass expands against the framework, bulging through openings, constrained but not contained.

The work explores historical instruments of control applied to women's bodies, translated into the language of hot glass. The breath that inflates the glass is also the breath that was meant to be silenced. Resistance made material.

Mixed works from Konstfack and Riksglasskolan. From the turtle with the pearl (if you call nature's glassblower) to silicone (not as highly valued as its shinier cousin silicon dioxide).

This collection spans four years of learning, experimenting, failing, and occasionally succeeding. It includes student work, personal explorations, and pieces that don't belong anywhere else.

The title references both passion and play. Making glass is a game with rules that can be bent but not broken. You play with fire, with gravity, with time. Sometimes you win. Mostly you learn.