“ A lot of this is about the joy of being back in Kosta , about my love of the glassworks , the craftspeople , history , and tradition .”
Åsa Jungnelius
Åsa Jungnelius ’ breakthrough arrived in 2004 with her degree project for Konstfack ( University of Arts , Crafts and Design , Stockholm Sweden ), entitled “ I like your hairstyle !”
In the degree project , she presented a surrealist shopping scene with several pieces that have subsequently become iconic – if we may use that tired expression – such as her oversized lipstick , and “ Snippan ”, or “ Vagina ”, the much-discussed glass sculpture that contributed to coining the Swedish term .
Snippan was outside of the shop , a subject looking in through glass , and seeing itself and its attributes in a mirror ,” says Jungnelius . “ I ’ ve always wanted to create overall spatial experiences and to search for new perspectives . Based on that , I ’ ve occasionally developed miniatures that are available for people ’ s interiors .” work makes a strong , at times obtrusively cute , and sometimes aggressively feminine impression . Many of her works are built on what she calls “ the power of negative space ” – such as the massive installation Snäckan , The Shell , in the brand new Hagastaden subway station , which opens in Stockholm in 2026 .
Åsa Jungnelius was born and raised in Fisksätra in Saltsjöbaden , outside of Stockholm . She lives and works in Månsamåla outside of Åfors , where she previously shared the glassworks with Ulrica Hydman Vallien , her mentor and a source of inspiration . She has been tied to Kosta Boda since 2007 .
Jungnelius – a skilled glassblower herself – has become established since then as one of the most influential pioneers in a new movement of Swedish craftsmanship-driven art . She has become particularly known for her bold approach to playing with various feminine attributes and symbols . Her
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