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This paper presents how I came to create this collection of jewellery that is intimately tied to memories and fragments. How I have conducted my research about collections, museums, jewellery, and artists. Incorporating those findings into the workshop and the way the pieces came to be. Made in silver, zinc and iron, and with use of the techniques casting and etching. And conclusively how a collection took form with this idea to give a sense of treasures or a language from an unknown world or place. Somewhere where time has passed and the individual pieces convey the notion that they are fragments of a greater whole, part of a story or memory that we can sense but not quite reckon, not to be fully understood.

On May 7, 1581, Elisabet Vasa, Princess of Sweden, married Duke Kristoffer of Mecklenburg. The Princess was equipped with a large dowry and, by Swedish standards, an extensive collection of objects, including jewellery. The essay's thesis is that the official jewellery that Elisabet brought with her to her new court were identity-creating symbols of a performative nature that would consciously strengthen the legitimacy of the new Vasa dynasty on the international stage. The essay is based on a comparative analysis of inventories from 1581, 1593 and 1597. The essay examines and discusses the donors' and recipient's agency, or "touch", and intentions with the jewellery. The essay's result shows that parts of the thesis - that the official jewellery that Elisabet brought with her among the gifts in 1581 were identity-creating symbols of a performative nature - appear to be highly probable based on the few but significant art acts that have been possible to trace in sources and archives. According to the material of the existing study, however, the jewellery did not fulfil its intended function of strengthening the Vasa dynasty and its legitimacy on the international stage as Elisabet herself had different intentions and apparently actively worked to assimilate to her new environment as Duchess of Mecklenburg.

The behaviours that the Neanderthals and Homo sapiens sapiens had in common could have made their interaction more advanced and deeper. Ever since Richard E. Green et al’s discovery in 2010 that a lot of the modern day population have inherited about 1-4 % of the genome from Neanderthals, the assumption that Neanderthals are primitive beings lacking advanced cognition has changed. For H. Sapiens to interbreed with Neanderthals one could argue that they could not have been that dissimilar. Since the modern day population inherited parts of the Neanderthals it could be very interesting to bring more insight into how their relationship and interaction would have looked in relation to H. Sapiens. In this thesis some behaviours will be analysed and compared that existed among them both. In this remark it will be about behaviors of a symbolic nature, indicating a more advanced thinking. These are the usage of personal ornaments, the burial practice, and lastly language and speech. The personal ornaments they used are in some instances very similar, but there is also variation in what they put value in as personal ornaments, later H. Sapiens put a lot of energy into making beads of different types, and Neanderthals having a focus on birds of prey. The burial practice is in general nothing that is too common among either of them during the middle palaeolithic or African Middle stone age. Before the upper palaeolithic there is not too much evidence indicating that they had a tradition of burying their dead. In cases they did bury their dead there is evidence of places with multiple burials, maybe working as grave centers. The anatomical capacities for speech existed among them both. When it comes to language it is harder to discern, since it does not fossilise, but since language is symbolic it could be argued that evidence of symbolism among them could indicate that they had language as well. In the discussion and conclusions it is argued that these common behaviours could

The aim of this thesis is to investigate the social role of women in the Viking Age on Gotland. The female jewellery articulated the Gotlandic identity on the island in the Viking Age, unlike the men's jewellery which expressed similarities with other places in Scandinavia. Therefore, the female jewellery can be seen as traces of an important cultural expression that distinguished the Gotlandic women from others. The understanding of which types of jewellery that are considered to be linked to the female gender during the Viking Age is based on a number of excavated graves. The jewellery in graves have been researched for a long time. However, there is another category that includes jewellery which have been neglected, namely hoards. Therefore, this thesis investigates female jewellery in graves to understand the composition of jewellery in hoards. The purpose of this is to interpret if the hoards can express a female gender identity, similar to the female gender identity in graves based on the composition of jewellery. This is realized through the use of performativity and embodiment theory. The similarities and the differences between the jewellery in graves and hoards are investigated through a correspondence analysis. The result show that the differences between the composition of jewellery in graves and hoards are meaningful. The graves consists of a more complete set of jewellery made of bronze, whereas the hoards are interpreted to consist of parts of a complete set or a larger number of the same type of jewellery. The hoards also contain more jewellery made of precious metals than the graves. The hoards are intrepreted as savings of vaiable jewellery that could be resumed and used again by women. The Guta Law is applied in this thesis to contribute to the understanding of who owned the jewellery that women wore. The result is that women did not own the jewellry individually. Instead it was owned collectively by the family but that women might have had the re

The thesis aim is to discuss the Gotlandic jewelry constellations and the difference in the jewelry assemblies between five Viking Age burial grounds on the island from an intersectional perspective. Differences or alikeness between the burial grounds are meant to highlight or decline a possible group dynamic on the island where different subgroups could be detected in an overall Gotlandic group. The subgroups could be a result of trad or local expression that show up in the jewelry constellations and by that means highlight an expression beyond the Gotlandic grouping. Following questions is discussed in relation to the different jewelry constellations in the graves, is there any differences between the jewelry constellations on the analyzed burial grounds that could indicate more than one group in the Gotlandic population during the Viking Age? How can different genders be visible in the jewelry constellations of feminine and masculine graves on the five burial grounds? If more than one group can be detected, is it possible to interpret a difference in possibility to express gender in the jewelry constellations between the burial grounds? The Gotlandic feminine jewelry has been interpreted as specific for Gotland during the Viking Age and has been discussed to show an overall group on the island. In relation to this, the five analyzed burial grounds show about a third of the graves having no jewelry in the graves and a varying jewelry constellation in the feminine graves. The thesis discussion shows a possible difference even between the jewelry in masculine graves on the burial grounds that has been analyzed which earlier studies have not highlighted. The result shows a variation both between the five burial grounds but also between the individuals. What earlier has been understood as the traditional Gotlandic feminine jewelry constellation has in the analyzes been shown to relate quite little to the actual material. Few feminine individuals have been buried with

The intent of this examination is to study anatomical jewelry design, withreproductions of the clitoris and uterus, its feminist connection and symbolism.Three Swedish female designers represent the foundation for this study, wheretheir specific jewelry is analyzed. Choice of designers are Clit co,Feministsmeden and Statement by Lann, a presentation of them can be found inthe second part on page 15. The main question in this study is; How come thewoman's body and genitals have become jewelry and how are these symbolslinked to feminism? Are these anatomical images inclusive or exclusive from agender perspective? The method in this survey focuses on semiotics and imageanalysis with inspiration from discourse analysis and hermeneutics, with atheory rooted in gender, feminism and exposition of the female body. Byfocusing on signification and intention, the study reaches a hypotheticalconclusion about the connection between anatomical jewelry and feminism., Syftet med denna undersökning är att studera anatomisk smyckesdesign, med återgivningenav klitoris och livmodern, dess feministiska anknytning och symbolik. Tre svenska kvinnligadesigners står som material för studien, där deras specifika smycken analyseras. I del två avarbetet presenteras de utvalda kreatörerna Clit co, Feministsmeden och Statement by Lann.Huvudfrågan i denna studie är; Hur kommer det sig att kvinnans kropp och könsorgan harblivit smycken och hur är dessa symboler kopplade till feminism? Är dessa anatomiskaskildringar inkluderande eller exkluderande ur ett genusperspektiv? Metoden i studienfokuserar på semiotisk bildanalys med inspiration ur diskursanalys och hermeneutik, medteori förankrad i genus, feminism och kroppspolitik. Genom att fokusera på budskap ochintention når studien en hypotetisk slutsats kring sambandet mellan anatomiska smycken ochfeminism.

In a place that has been abandoned I have collected the human-made traces. Preserving the perishability of places and people. Saving the small memory. To hold close and pass on to the next. Placing them in a jewelry context where we may care for them more tenderly. To approach the people through adornment and wearing. I don't want to physically mark anyone, but I still want to come close. A piercing of the clothes: brooches. You who left it. I who collected. Next one to wear. Where all of us become involved and equally important. With the traces taken from the place, I add my own imprint in the craftsmanship of the jewelry. Each brooch fragile and where the next one, the wearer, will become part of our traces and history. Each brooch with a part of us and in transformation. Traces can be left, and memories preserved. They can be passed on through the visible, the tangible, the sound and the anecdotes. They can be experienced or relived when we feel, listen and see. Therefore, I needed to pass on the traces in several ways. Through the brooches and through film. For more people to take part of. Where the next one can see, hear and feel a place; its traces, stories and the imagination created in the experience.

This paper presents an interpretation of an archaeological problem where Viking age treasure hoards on Gotland are discussed in relation to the provision of the morning gift in the medieval Guta law. There are around 700 treasure hoards found on Gotland and many of them contains what can be interpreted as female coded jewelry. In this essay Gender theory and the theory of performativity is used as a method to analyze treasure hoards with female coded jewelry and its purpose is to investigate jewelry in relation to gender. This study will take a closer look on eleven treasure hoards which have been selected based on jewelry identified as typically female. This might indicate that women were the ones who deposited their jewelry in the ground. The Guta law narrates women's political and social situation in the medieval society and it is possible that it can tell us about some social practices in the Viking society. This law is a great source to recount women’s rights and obligations when it comes to marriage and heritage. The law contains a provision about hogsl oc iþ which is interpreted to be the morning gift. The morning gift intended that a husband was to give his new wife a gift in relation to their marriage. The law stated that a woman had the right to her morning gift which could suggest that women could control this property and have ownership over it. This study investigates what the mentioned medieval law dictated in regard to what a morning gift should constitute of and if this have any connection to what can be found in Viking age treasure hoards. This study is performed by analyzing treasure hoards with jewelry identified as typically female, as well as analyzing the Guta Law which allow one interpretation of why there are so many deposited treasures on Gotland. The interpretation which is presented in this study is that women had ownership of their morning gift and they could have deposited it in the ground to protect themselves and their property.

I feel something on the INSIDE of my body, a feeling of nagging worry. It is an emotion equally important as every other emotions we humans have. But the feeling of worry is very complex as it may come in different shapes and sizes, and how much it affects us differs from person to person. For some people thoughts of worry escalates and becomes overwhelming which causes an emotion of anxiety which in turn could lead to a panik attack. In my exam project and my artistic presentation I focus on that emotion of anxiety when you panic and you loose control. The reason for this emotion could be many but I am interested in how expectations and demands both from ourselves, others and society leads to us trying to keep it all together, stay in control and/or wanting to show an OUTSIDE that everything is fine. Through social media, internet and commercials we are all exposed to information which tells us how to achieve ”the perfect life” and images of people having an eventful life. All of this creates expectations. In society today worry and anxiety are emotions that are connected to something negative and is often seen as a weakness. In our attempt to hide the emotion of worry and anxiety we communicate to the people on the outside that everything is fine, by for example using jewelry, make-up and clothes to show a beautiful facade almost like putting on a shield before we go outside to meet the world. Why do we do that? And for whom? I chose the necklace as the traditional piece of jewelry to symbolize beauty, stability and to communicate to people that you have everything under control and that everything is fine. The necklace becomes part of the facade that will stand for beauty, tradition and a measure of prosperity. This is what you show on the outside of the body but on the inside that is where you hide away your worries and anxiety which is built up due to expectations. Expectations which in time will be too many and too much for you to handle, the same as with an

This paper presents an investigation in stages of transformation between body and ornament to show upon their fluid relationship and their role for the creation of human identity. I see the act of adorning the body as an act of desire, in which we take part to become something more elevated than our original state of being. I use my background as a jeweller and the body as the territory for investigating these acts of transformation. Through material explorations I examine how we mirror ourselves in the things we make and how we reinvent our bodies through making. I compare the role of the maker with the scientist and discuss the increased interest in the body and its relation to a more and more virtual reality. I make links between ancient body modifications and human enhancement within new technology and throughout the paper I discuss my work in relation to other artists work and theorists relating to visual practices.

The aim with this essay is to explore the possibility that jewellery was worn in combinations during the Bronze Age in the south of Sweden and Denmark as a way to show identities. By examining neck-collars and neck-rings and the jewellery found with these objects in graves, I have managed to find a few combinations that re-occur within regions which I think point towards ways of expressing different identities. To fully explore the subject I have also examined the design of the neck-collar to see if the designs have the same regional difference as the combinations. Though there is some difference between regions it is the similarity of the design over regions that stand out. It is possible that the design of the neck-collar has shown a different meaning than the jewellery combinations. There are similarities between the jewellery found in combinations in the graves and the jewellery found in hoards. Neck-collars and neck-rings found in combination with other jewellery in hoards show a greater regularity over the south of Sweden and Denmark then those combinations found in the graves.