Tone Vigeland’s art springs from a direct encounter between her hands and her materials. For more than fifty years, she has created jewellery and sculptures that combine simple craft techniques with stringent aesthetics – works apparently liberated from any possible intellectual approach. Perhaps this is why people the world over describe her art as both timeless and placeless, and sometimes even magical.

In an interview with three artists, Johanna Zanon explores the theme of the relationship between the body and metal art and jewellery. Renate D. Dahl's work focuses on questioning the social norms and standards associated with the female form. Judit Fritz works at the intersection of crafts and sciences, experimenting with using sweat and tears to grow gemstones. Finally, Lauren Kalman uses craft-based materials in her performance-based videos, photographing and distorting the body in sometimes grotesque and violent ways, in order to explore attraction and repulsion.

In this text, artist Olaf Hodne questions the presupposed permanence of jewellery, and introduces us to three artists, Sayo Ota, Íris Elva Ólafsdóttir, and Kristine Ervik, whose practices embrace perishable materials, making art jewellery not made to last.

In this text we get to follow matt lambert and Máret Ánne Sara's conversation, as they explore their shared experiences, their impetuses for creating art, and the role migration, nomadism and land play in their practices.

Brit Fuglevaag is one of Norway's foremost textile artists through several decades. Fuglevaag's practice is founded on traditional loom weaving, but incorporates a multitude of unconventional techniques and materials, including found objects, plastic and paper waste, feathers and mooring ropes. In this interview with community development curator Zoe Black from Objectspace, Aotearoa New Zealand, we are invited into Fuglevaag's home. The interview also features a short film, made by Norwegian Crafts.

Tone Vigeland’s art springs from a direct encounter between her hands and her materials. For more than fifty years, she has created jewellery and sculptures that combine simple craft techniques with stringent aesthetics – works apparently liberated from any possible intellectual approach. Perhaps this is why people the world over describe her art as both timeless and placeless, and sometimes even magical.

In this conversation, Irene Snarby talks to duojar Perisak Juuso about landscapes and Sámi place names, and about the in-depth knowledge you need in order to find the right burls, roots, and antlers to make beautiful duodji.