WWIAFM is a craft-based design group with nine members, who all attended Konstfack (Stockholm’s College of Arts, Craft and Design). The group was founded in 2001 and has since orchestrated and partcipated in several exhibitions around Sweden. A common inspiration and motivation for the members of WWIAFM is the desire to broaden the perception of contemporary crafts and expand the way handicraft is treated and shown. Each member harbors a sincere love of their discipline and material at the same time as they regard the field’s traditionally set standards as ”truths” that can be modified. WWIAFM wants its work and exhibitions to be seen as a compliment to the offerings of the traditional arts and crafts scene. It’s not about protesting established aesthetic norms, but expanding them. When the group’s members do articulate protests, they are concerned with human behavior patterns and social conventions rather than aeshetics. Past shows have dealt with life issues such as the relatonship between gender and power, nationalism and exoticism and the human control of nature. WWIAFM uses glass and ceramics to comment on the time and world they live in, with the intention of inspiring their viewers to do the same. Through their exhibitions, performances and interactive projects, they highlight the way our values and thought processes are shaped by the objects that surround us.

Members: Frida Fjellman, Jakob Robertsson, Linus Ersson, Ludvig Löfgren, Maria Boij, Pontus Lindvall, Sara Isaksson From and Åsa Jungnelius.   Contact us for more information: Mail: click!
Phone: +46 (0) 8 6810173 Cell: +46 (0) 70 7192013

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It’s the Result that Counts (TUMULT)
Gustavsbergs Konsthall, Sweden

The large room at the gallery contains a site-specific work entitled It’s the Result that Counts produced by the group WeWorkInAFragileMaterial. The work is constructed as a three-dimensional game board within which the group has acted. The group has used paintball to decorate the work in a violent process that challenges contemporary aestheticization’s understanding of both violence and surface. As with earlier works, the group has developed the installation during a joint working process though within a given structure. In this instance the structure take the form of the gallery itself as rules for a game in which it is the result that counts. This represents process-based crafts taken to their absolute limit.


Cabelfactory, Helsinki, Finnland
September 8th–9th,

Hot Potatoes workshop event takes reality TV back to reality and deals with topics too hot to handle. Designer groups will be given a new brief every day and six hours to respond to it.
On Tuesday and Wednesday the stage is taken by Anteeksi (Helsinki), WWIAFM (Stockholm) and Iced Architects (Moscow) who will face a challenge set by the curators Vladimir Frolov, Katarina Siltavuori and Tomas Ivan Träskman.


We Built This City
Sixpm project space, London, UK
April 23rd –27th,

"In the middle of the nineteenth century, Gottfried Semper postulated that all architecture is descended from a "primitive hut," a simple framework of sticks hung with textiles. The memory of patterned hangings, he thought, lingered in every decorated brick or stone wall, while the basic joint of a hut - the meeting between upright post and horizontal beam - was still the core of architectural technique. Every idea about making a building, he argued, was necessarily a variation on this essential theme."
- Glenn Adamson


Crystal Palace, Stockholm, Sweden
January 10th, 2008

"The painting is a collaborative piece that unites the contemporary trend of interior design with historical ways of decorating spaces, as well as artistic expression in a large format.
Now the wall painting has been moved away from its original and intended space to be showed inside the white cube. The joyfilled work that only intended to decorate a specific room has started a discussion about the purpose and function of decor in relation to fine art. Maybe all painting is purely decoration and no decoration is purely surface."


Järva fältet, Sweden
September 13th, 2006


Happy Campers
New York, USA
May 20nd – 23rd, 2006

The realisation of a gigantic “troll” took place during the exhibition and the work was structured at quick meetings three times a day at the conference table. Drawing folded trolls was a standing task at these meetings. The power of 10 pairs of hands made it happen!


The State of Things
Oslo, Norway
April 6th – September 9th, 2006

The objects that were created in “the Eagles Nest” were later brought to Norway and fired in an anagama kiln located on a high mountain top. On a pentagram painted directly on the exhibition floor of the Norwegian National Museum, we built a suggestive installation of ceramics and photos from “the Eagles Nest” sessions.


In the Eagles Nest
March 10th – 12th, 2006

On a freezing winters day we brought 400 kilos of clay and food for three days to a cabin in the woods. It proved to be a very intensive stay. In the light of the fire we worked the clay inspired from the subconscious pictures that we created by exposing ourselves to a variety of drum journeys, rites, prophecies and conversations with demons and a general mysticism. The sensation of being a group was greatly strengthened but suddenly it was time to go home.


WeWorkInAFragileMaterial at Röda Sten
September 3rd – October 9th, 2005

“The present exhibition at Röda Sten extends wwiafm´s popular-education project through a video about the members of the group and their everyday lives. The music and choreography are lifted from Kylie Minouge´s music video, Slow, but show not her and thousand sexy dancers on a beach but the ten craft workers and their varying work and dancing: alone in our studios or together in a large locale. It would be easy to see the video ”We Work In A Fragile Material at Röda Sten” as treating ironically the myth of the art-craft worker as the sensual kneader of clay but WWIAFM dance only perhaps because it is beautiful.”


May 12th, 2005

In the Art bookstore Konst-ig in Stockholm, We Work In A Fragile Material was invited to
create the framework of the “Craft in Dialogue: Six Views on a Practice in Change” anthology book release. WWIAFM chose to create objects in paper together with invited guests; Per B Sundberg, Pelle Strengbohm, Alexandra Falagara, Therese Björkqvist and Johanna Lewengard. During one day funny, remarkable, ugly, big, sloppy and fiddled things were made that later came to inhabit the whole book store.



Stockholm Art Fair – 05
April 9th – 13th, 2005

At the Stockholm Art Fair 2005, We Work In A Fragile Material (WWIAFM) invited a number of guests for a discussion on the subject Excuse me, how much is the vase? – a dialogue about the prize of things. There were questions raised like: What makes the “value”? Is it the sentimental value of an object, its actual sales cost, the sensation of belonging to a group, the aesthetical quality of an object or something else? The same subject was shaped and shown at the same time in the WWIAFM exhibition case (made by Åsa Cederqvist), where the group members´ private work was shown with its respective price tags in giant shape. Many of the exhibition visitors asked if the price tags were the actual ones, and that’s how the dialogue could keep evolving. What is the reasonable price for design and craft? And who is prepared to pay?


WWIAFM at Skoklosters slott
June 5th – November 7th, 2004

The castle of Skokloster (Skokloster slott) is one of the most intact european XVII-century castles that exist. Here we placed our modern crafts right in the middle of their unique baroque interiors and crafts collection. From this meeting between the two epochs rouse questions about ”status objects”; questions about the demands on effectiveness of today and the scarce resources that are designated for craft; questions about the status object´s shifting of focus from craft to electronics, for example.


WeWorkInAFragileMaterial at ak28
October 7th – November 6th, 2004

At the ak28 gallery, WWIAFM had a parallel exhibition to the “You can do it!” at blås&knåda. The idea with the exhibition (curated by the ak28 staff) was to show each and every artist´s distinctive features. Lined up on a shelf along the four walls everyone placed their different objects and put their signature on the wall behind, as well as a plastic box placed below each object, filled with things that had served as inspiration for each artist respectively.



ABC –You can do it! – blås&knåda
October 2nd – 20th, 2004

After the workshop in Tensta, We Work In A Fragile Material (WWIAFM) moved the You can do it! to the crafts cooperative and gallery blås&knåda. Here the question was raised; what happens when the contemporary art workshop moves to the crafts gallery? And is it possible to exhibit a workshop or is it in the end just a mess of clay?


You can do it!
14 – 19 September 2004

The art center of Tensta (Tensta konsthall) and the artists group Oda projesi invited We Work In A Fragile Material to participate in their exhibition. During the 10-day workshop “You can do it!” WWIAFM mixed tons of play doo-clay and let the exhibition visitors create their own objects freely and then name them. From that came an enormous amount of objects with names like festival junk, pop art dude, camel milk and handicapped snail.



Stockholm Art Fair – 04
February 12th – 15th, 2004

At the Stockholm Art Fair 2004 exhibition we had not yet formulated what was going to be
significant for WWIAFM; that is to say a working method based on a common project where the group as a whole is the artist. Instead there was a very classy but roughly designed exhibition case that contained the members´ personal works.



Home 2003
November 7th – 9th, 200

This was the first time WWIAFM made an exhibition as a group. We felt it was important to show our name at that early stage, so we painted it in huge letters all over the wall.




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