Elisabeth Ekstrand


It was back in the the 1960´s

that I began working in terra cotta the theme was maternity – mummy tummies, giving birth and relationships as well as a series of faces and a series devoted to hands.

In the 70´ s

I went down to Italy and started working in stone. And discovered that I was a sculptor (working from the outside of the stone block inwards by contrast to a modeller (working from inside the figure and adding things to it. ).

With stone I would often try to retain features of the mountain itself- the unadorned surfaces and the dressed surfaces in different phases of completion right up to the highly polished refined surfaces.

An individual exhibition called

“Omaggio all’Artigiano della Pietra” a tribute to the stone art craftsmen. There I abstracted the cavalette with the stone lying on top and waiting for processing in different stages. There were quite a lot of works with this motive.

From there

I continue with motifs of prisms to begin with, carved into a rock (monolith). Was tired of the weight of these works why I “unloaded” the prisms. Now I did the prisms in different combinations and works. I’ve always had a good relationship with music and named some works “Silent Music”. When I began to beat the prism, I was inspired by composer John Cage.

After his composition

“Five plus one” I have done a work that became synonymous with me. It is available in different sizes and in different types of stones. My works have names like: Score, organ, rhythm adlibitum (adlib) and name of music pieces.

Elisabeth Ekstrand

This is the story of the artist who woke up one day and to her surprise found that she was a constructivist – hard edge.

Fontän i Porfyr ”Vattenporfyr” för statens konstråd – 1994-1996

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