Eirik Brandal, plubee (2020). Electronic sound sculpture. Photo by Eirik Brandal
Connecting Craft, Performativity, and Sound

It is with great pleasure that we publish the sixth issue of The Vessel – Modulating Craft. Edited by textile artist and musician Pearla Pigao, and craft artist and designer Stian Korntved Ruud. For this issue we look at how artists, with intention and passion, specifically work with and between craft, performativity, and sound.

Malin Bulow, Elastic Bonding, the 15th edition of Lyon Contemporary Art Biennale, 2019–2020. Photo by Jeff Pachoud. Courtesy of the artist.

Modulating Craft

The editors Pearla Pigao and Stian Korntved Ruud gives an insight into their editorial process, and the manifold world of craftsmanship, sound and performance. They introduce the issue, consisting of musicians, circuit makers, dancers, composers, gatherers, instrument makers, scenographers, listeners, noise makers, inventors, and writers. They have also included a visual presentation of their creative process, in the form of a moving mind map.

Artist presentation

No Nodes – Speaking to the Land

In this text, Rusten looks at the ancient art of spruce root basket weaving to reflect upon his artistic practice, which relates and communicates with a non-human world through foraging and craft. A practice that is a continuing exploration of self in relation to a more-than-human world. In the text, Rusten draws on indigenous ways of being, Buddhist thought, the philosophy of Gilles Deleuze, and the anthropological research of David Abraham.

Heaps (detail). Photo by Sebastian Rusten
Installation image from "Glowing Phalanges", Ahmed Umar. (2023). Photo by Uli Holz / Kunstnernes Hus

Becoming Elastic

In this essay, art critic and writer Nicholas Norton reflects upon the blurring lines between fine art and crafts in the contemporary art scene in Norway. Norton explores the use of performativity and sound, and he arguments that crafts is an increasingly elastic category, capable of merging different critical perspectives that are not simply beholden to traditions of making, but that can be a way of “making” new perspectives on the world.

Eirik Brandal, cythemic rotary transmission (2023). Electronic sound sculpture. Photo by Eirik Brandal
Artist presentation

Strategies for Designing and Composing with Sound Sculptures

Eirik Brandal writes about the construction and composition strategies of his electronic sculptures. He reflects on craft in relation to his own artistic background in music composition and sonology and contemplates how artists are necessarily shaped by the tools they are working with.

Levtiation (2023) Buskerud Kunstsenter. Photo by Istvan Virag
Artist presentation

Elastic Imprints and Fluid Forms

Malin Bülow uses her artistic practice to understand our bodies as being fundamentally part of the natural world and not separate from or privileged to it. In her performance installations, the moving bodies continuously shape-shift to suggest a resistance to given forms, renegotiating their own boundaries, as well as that of the architecture. This presentation explores her pursuit to visualise a dependent body that can be seen as an expression of resistance and an initiative to liberation.

Wooden drum. Phonotope 4. Courtesy of the artists
Artist presentation

Phonotope 4 – a Sounding Landscape

Composer Rolf Wallin presents the concept and process behind the performance Phonotope 4, created and performed by Wallin, SISU Percussion Ensemble and scenographer Carle Lange. Phonotope 4 works within the physical and visual realm, where they have explored questions like: ‘How to make "water-like" music with instruments made of water?’ and ‘How to build a fire instrument that sounds like fire?’


Sound piece made made by Krissy Mary