Åsa Johansson by Lina Aastrup

Åsa Johansson’s large-scale ceramic sculptures constitute an exploration of the basic geometric shapes. Through a meticulous, precise working process, the organic clay is moulded and shaped into strict shapes, which are subsequently worked and combined to form a variety of dynamic structures. Together, they constitute an expressive whole of colour, form, and composition, and they all bear a distinct artistic fingerprint.

LA — How do you your works develop?

ÅJ — I am fascinated by shapes, colour combinations, and the pieces of architecture that surround me. I find the omnipresence of the basic geometric shapes interesting, and therefore, I have chosen to study them in greater depth. Clay is an organic material, and it challenges me on a daily basis. Although I might wish I had complete control of it throughout the process, that simply isn’t possible. Each shape takes several weeks to produce. I enjoy the technical aspects of the process, from turning the original shape to casting the final, moulded shape. As a response to the strictness and restraint of the basic shapes, I deform some of them, to add excitement and expressiveness to the piece. In the kiln, where temperatures reach almost 1,300 degrees, all kinds of things can happen, and unexpected developments add a new dimension to the work. Too much perfection can get boring.

LA — How do your sculptures relate to space?

ÅJ — I find it challenging, and fun, to engage with space. I work a lot on achieving a specific composition and a harmonious balance in my sculptures. I want the pieces to impact the space around them; that’s why I make them so big. I want to capture the viewer’s curiosity, so that they walk around it, wondering what they’re seeing. I also like to position the sculptures so that they disrupt the path of the viewer, to insert some disarray. When several pillars are combined, a space is produced between them, a dynamic space within the room.

LA — How do you approach working with colour?

ÅJ — I make the glazes out of different minerals: quartz, kaolinite, feldspar, and so on. Oxides provide the colour, and other substances add glossy or matte textures. The experience of the shape itself is impacted by the colour and gloss of the glaze–they add life to it. The glazes give the objects different expressions, and trigger emotions. Pink, orange, and purple are my favourites, and always have been. Everybody has their own palette; this is mine.

LA — You graduated from Konstfack this summer. How do you feel about
leaving school?

ÅJ — It’s exciting, and challenging–tough and enjoyable at the same time! I’m happy that I’m finally standing on my own two feet, free to do whatever I want. But no longer having access to the technicians, workshops, and professors, and all the other support the school gives you–that’s tough! I’ve just moved to Gothenburg, where I’ve been able to open my own workshop and studio. I’m fully invested in a career in art, and having my own workshop with tools and a kiln is a basic requisite for that. My dream is to work with public art. I’d love to work in a larger scale, and take a site-specific approach: bringing joy and curiosity to passers-by, and making some dull, grey place a little more exciting and fun.

Åsa Johansson (b.1992) earned her MFA from Konstfack in 2021. She is based in Gothenburg.