Daniel Gillberg is a Swedish maker and artist living in Oslo, Norway. He is trained both within the fields of art and art conservation. His education within the field of ceramics is built up by schooling and training with different potters as well as taking longer and shorter courses and several master classes. He also holds a degree in 'the science of conservation of cultural property' with a specialisation in paper conversation from the Gothenburg University in Sweden. He is currently working on his ceramic art from his studio on the Norwegian countryside outside Oslo, as well as running his small paper conservation studio in the city centre.
Daniels is mostly focusing on functional high fired earthenware pieces. He build up his decorations in layers, often combining various graphic techniques with paper resists, paper transfers as well as commercial decals and gold luster. He will often transfer elements from his own photographical works on to his pots and is very much fascinated and inspired by traditional collage techniques.
“I feel very much fascinated by the idea of extracting isolated elements from the world around me. How their whole meaning can dramatically change when being put next to something else. Even a different colour or a surrounding pattern can have a huge impact on the perception of one element”.
In his ceramic work he retells the stories of the places, spaces and people he meet on his way in the social, urban and natural landscapes around him. Every pot tells a different story and becomes a unique item for the user to discover and infuse with their own values and ideas.
I am an artist, a maker, and a conservator. I make art. I craft and sometimes I take care of others art.
My ceramic work is an attempt to connect the user with the values of the hand made and the crafted and to make work that encourage reflection, communication and a time to pause. I see the functional vessel as a way to introduce hand made into peoples every day lives.
With a background in the Scandinavian slip ware tradition, I am attracted to the decorated and the crafted. I pay attention to the functional and it is of great importance for me to make comfortable work. I often go for organic shapes and forms and deliberately leave behind marks from my own hands. Perhaps as a small protest against the fury industry and the uniform, but also a way to show the process and to create a starting-point to educate about the making. The Swedish crafts woman, Karin Larsson, once stated; 'Låt handen synas - Let the hand show’. This ‘motto’ very much appeals to me still, one century later.
Even though I find traditional and historic patterns, colour and craft to be a great source of inspiration, I keep recording objects, structures and connections around me that attracts my attention. This pool of selected imageries opens up a small window to an internal view of a very personal outlook on to the world. I source this pool of imageries and extracts elements to collage my work. It becomes a tool to re-communicate my surroundings and to connect with the user through my window. A tool to start new stories for the user to finish as they use these functional objects in their every day lives and slowly infuse them with their own values and ideas.
Copyright d.gillberg 2016 all rights reserved