The Aftermath of Trauma: Art, Levitation, and the Resilience of the Human Condition

The Philosophy of the Aftermath

The artist’s work is fundamentally rooted in the inquiry into the "aftermath of things." By exploring the wreckage left in the wake of "trauma, crisis, exile, and migration," the artist seeks to understand the transformation of individuals when subjected to the pressures of societal and historical contexts. This exploration is deeply personal, reflecting on the lived experiences of the artist's parents and their necessary adaptation to "Swedish society." The creative process, therefore, is not merely aesthetic but serves as a bridge to examine how history leaves an indelible mark on the human psyche.

The Evolution of Form: From Cocoon to Levitation

A significant turning point in the artist’s practice occurred during a residency at the Alexander Calder Foundation in France. Surrounded by nature, the artist moved away from purely social commentary toward organic abstraction. The emergence of a form described as existing "somewhere in between an egg, a cocoon, a seed" marked the beginning of a recurring motif. Initially sketched on paper and then traced around the artist’s own body, these sculptures evolved from rough wood and fiberglass constructions into massive, seven-meter-high structures.

These works represent a critical shift toward the concept of "levitation." Far from being a pursuit of magic, the artist uses levitation as a "metaphor to speak about a sort of a ruthless identity." These organic forms, which appear to "nest" in the corners of museums, serve as silent witnesses to the artist's ongoing investigation into how bodies and identities occupy space under duress.

Historical Complexity: The Khaki Piano

The artist’s collaborative process, conducted within a "borderless studio" spanning Paris and Berlin, often involves tackling the "complexities a historical object entail." A prime example is the research project concerning the Steinway factory during the 1940s. During the war, when factories were repurposed for the war effort, the U.S. government commissioned Steinway to create lightweight, "khaki pianos" that could be "parachuted to the soldiers" camped across Europe.

This historical narrative became the catalyst for a profound installation. The artist envisioned these pianos "levitating above one of these cocoon-formed ovoid shapes." The resulting image—a "child-size egg" resisting being crushed by the weight of a military piano—perfectly encapsulates the artist’s preoccupation with the "human condition" and the capacity for survival in the face of overwhelming force.

Art as a Mechanism for Resurrection and Resistance

Ultimately, the artist views the creative act as a vital tool for survival and resistance. By "resurrecting something from the past" and placing it into the contemporary gallery space, the artist forces a confrontation with aspects of ourselves that we have "forgotten or that we want to forget." The work is not just about the object itself, but about what links us on the "most profound level as human beings." Through the tension between the fragile cocoon and the heavy, historical piano, the artist suggests that art provides a sanctuary where trauma can be processed, and the human spirit can continue to levitate, resisting the crushing weight of history.