Lina Adamsson

-Typography project- (Excerpts) A typographed reproduction of Raymond Queneau's "Exercises In Style", published through Lulu Books www.lulu.com. / From exchange term at Camberwell College of Arts, London. / Collaboration with other Camberwell students. Five of my nine contributions. / An exploration of the connection between title and text resulting in typography that mirrors Queneau's study. Patterns appear revealing the core of language.

-Karaoke interface- (Excerpt) From exchange term at Camberwell College of Arts, London. / I used simple techniques to try and create some movement into the lyrics. The interface is done by hand through holes in black paper lit up from behind, and filmed one verse per film sequences. I've placed the words according to the notes in which they're sung and when needed divided some of the words into syllables. You simply follow the light for direction. Hopefully this will make it a little easier to follow the melody if you've never heard the song before.

-Revised book cover- From exchange term at Camberwell College of Arts, London. / I worked with a book on Japanese architecture. On the cover I have brought out a quote from the introduction to the book, in which the author tells of how the Japanese traditionally have chosen to live with and by nature. The quote: "With a natural pleasure at the thought of being alive, a kind of gratitude tempered with elements of stoicism, the Japanese fitted themselves into the geologic faults –around the mountains and along the streams– considering themselves an intrinsic part of the total environment. It did not occur to them to do otherwise." By using elements from the book on/as the cover, the border between cover and content is blurred. The bold letters on the spine make up the word "Japanese".

-The Future Library- Addition to the projected extension of the Gothenburg City Library. / I worked with the idea of a floor surface situated by the entrance of the new building. The floor consists of crude wood and has the shape of the glass-roofed light well that it's placed beneath. To get to the different parts of the building you walk across the floor, and in that way the floor becomes an interpretation of the ritual act of obtaining knowledge. Just like the surface of the floor will change over time, knowledge sets a mark in us. The floor also says something about time. It will take many years for the marks in the floor to become visible, that process cannot be hastened. It serves as a reminder of all of the people who have visited the library before us.

-Explorative project- An investigation of our artistic approach based upon our senses. / How is it at all possible to feel anything in the presence of something? Why is it that we can be emotionally moved by certain music or an image? My search for an answer resulted in three images based on the Golden ratio and the Fibonacci numbers. They represent my process, my search for an understanding of myself and why I create the way I do. They are about the harmony we feel when we hear or see a certain compostion, about how our feelings towards some things can be said to be based on geometrical conditions. This work is also a continued exploration of light in contrast to darkness: very little graphite is needed for it to stand out from the dark paper. The installation looks completely black from a far, but when approaching it the graphite becomes visible. In this way there is a focus on our own participation of our surroundings - it is not the mathematical calculations that are beautiful, it is in our experience of them that they become valuable.

-Intro music for dance performance-

-Poster for exhibition- Workshop with London based design studio APFEL www.apracticeforeverydaylife.com. / Collaboration with other HDK students. / For the workshop we were asked to bring artefacts representing soon-to-be forgotten techniques, such as lacemaking, overhead projection etc. The collection of objects was later turned into a form of library of the past. Divided into groups, each focusing on different aspects of an exhibition, we used the library for inspiration and found new ways of using the objects. The poster shows the silhouette of an old man-made porcelain vase, placed on an overhead projector. The typography is based on the font of an old textograph.

-Publication of one minute- One minute’s lyrics out of the song I was listening to at the time of the workshop. The minute is caught in a visualization of the way I see music.

-Photo book- (Excerpts) About the discovery of the way one sees things. Looking back and finding that the search for a perspective on things has always been there. The journey has ended but the quest continues.

-Poster workshop- Posters for an exhibition of Marcel Duchamp. / Collaboration with HDK student Elin Rahnberg.

-Poster for the burial ground- Part of an assignment about life, death and man. / About the feeling within the visitor of the burial ground. The way it feels when you don’t know where to turn. A seeking. About accepting life in relation to death and understanding that that which is light becomes much more powerful when it is in relation to something dark.

-Entry for screenprint poster competition- (Sketch) Theme: Prohibition.

-Pattern for wrapping paper- About feeling confused and wondering how everything is connected. About searching for a way out when caught, stuck, wrapped up in thoughts.

-Pavilion for video art- A space for showing the piece "77 Million Paintings" by musician and video artist Brian Eno. The work: Brian Eno has digitized more than 300 of his painting and created a program which randomly generates different combinations of these. The program can create 77 million variations, but you can never be sure of seeing the same combination twice. In order to do that you would have to watch the screen constantly for 450 years. The pavilion: The white area is for a possible talk with the artist but you can also choose to go straight to the viewing, without prior knowledge. Secondly, you choose whether to turn left or right in the corridor. The walls are identical and say nothing about what awaits you. When turning corner you reach a mirrored passage where you have to crouch due to the low, slanting ceiling. An intended claustrophobia is then shifted to a scene of infinity when you enter the black space. The height of the ceiling is four metres and floor, walls and ceiling are black for a sense of being in space, of standing in the universe. On each of the short sides a film is being shown and you now have to make your next choice(s). The image of the screen you choose might be fantastic, but so could the one on the other side be. Perhaps you turn your head to watch a bit of both, but then you miss out on experiencing the subtle changes that make a new image appear. What is really of value? Despite seemingly endless possibilities in life you still have to choose your own path. And so the pavilion is built upon the existential questions that Brian Eno awakens with his work - how do you handle not knowing what to expect, not being able to know what you might be missing out on and not being able to choose again? To never being able to live life one more time?

Suddenly it's there with you. PIC COMING UP