Louise Swärdshammar

(Close)

Glass Mold Thumbnails. Charcoal, graphite, and soft pastel on kraft paper, 2016. [Sold]

Old Iron glass Mold. Charcoal on paper, 2016.

Old Iron glass Mold. Charcoal and soft pastel on paper, 2019. [Gifted]

Old Iron glass Mold. Charcoal and soft pastelcon paper, 2016. [Sold]

Old Iron glass Molds. Ink on paper, 2016. [Sold]

Old Iron glass Mold. Mixed media paper, 2018.

Old Iron glass Mold. Charcoal paper, 2016. [Sold]

Glass Mold Thumbnails. Charcoal, graphite, and ink on paper, 2018. [Sold]

Old Iron glass Mold. Charcoal and soft pastel on paper, 2019. [Gifted]

Old Iron glass Mold. Charcoal and soft pastel on kraft paper, 2016. [Sold]

Old Iron glass Mold. Charcoal paper, 2016. [Sold]

Glass Molds

At Pukeberg Glassworks, thousands of iron glass molds were once stored in the old Sodium factory. Many of them were heavily corroded, left behind after decades of use. In 2016–2017, the entire Pukeberg area was remediated because of hazardous substances. As part of this process, the Sodium factory was emptied and approximately 95% of the glass molds were discarded. Before this happened, I began documenting the molds through sketching, drawing and painting. I also photographed them, knowing that I might want to return to the material at a later stage.

I became fascinated by the molds, not only as objects, but as traces of a disappearing craft. In glass production, the iron mold is a tool used to create the finished object, while the skill and craftsmanship behind the molds are rarely seen. Through my work, I wanted to bring these molds and the people and knowledge behind them into focus.

Thumbnails are an important part of my working process. I use these small sketches to explore different views, compositions and expressions. They help me get an overview of the material and see possibilities before developing the final works. In this project, the thumbnails became a way of exploring the many different forms and details of the molds.

The project began on site but continues in my studio. I work mainly with charcoal, which feels closely connected to the dark, worn surfaces of the iron molds and to the history of glassmaking.

(Return to Index)