Perspectives

Fanny Hellgren: "Each Work is a Universe in Itself"
Written by Natalia Muntean
Born in 1992 in Gothenburg, Fanny Hellgren is an artist whose work bridges the ephemeral and the eternal, capturing the cycles of nature and humanity’s search for meaning. Through innovative techniques blending sand, water, and pigment, she creates mesmerising landscapes and sculptures that reflect geological processes and cosmic origins.
This experimental approach, steeped in both scientific inquiry and mysticism, has earned her the prestigious Ann-Margret Lindell Stipendium for excellence in graphic art, making Hellgren one of the four receivers of the 2024 Ann-Margret Lindell Stipend offered by Grafikens Hus. Find out more insights about the artist’s creative process and how her art resonates with contemporary audiences navigating environmental and existential crises.
Natalia Muntean: Your work delves into geological processes and their connection to cosmic origins. How do you think these themes of time and materiality resonate with contemporary audiences?
Fanny Hellgren: I think these more eternal themes that I work with are always relevant in a way. Now, when we’re in the middle of an environmental crisis, ideas of how we’re part of nature and what our role is to it resonates with many people I believe. At times of political conflicts, wars, and humanitarian crises, people tend to search for more existential and spiritual expressions.
NM: How did you develop this method of working with sand, pigment, and water, and what challenges or discoveries have shaped it?
FH: I began making these works in 2020 during the pandemic when I was studying at Malmö Art Academy at the time and the school shut down suddenly. I didn’t have access to my studio anymore and this forced a turning point in my practice. I began spending a lot of time walking at the Ribersborg beach in Malmö, so I began making works outdoors using sand, stones and graphite powder to make marks on paper. The process evolved quite fast and I started using a spray gun to apply pigments mixed with water onto sand-covered papers.
I constantly discover new directions and results within this process. One important discovery was when I started using slightly bigger grains of sand, which resulted in the contour of every grain becoming visible and imprinted on the paper. This is conceptually important for this series. When you see the works close-up they are very detailed - you can see how the grains gather as islands and how the water finds its way around the dunes. But seen from a distance this is not perceptible and instead other patterns and shades appear. It’s like each work is a universe in itself.
NM: What does receiving the Ann-Margret Lindell Stipend mean for you, both personally and professionally, and how do you see it shaping your future as an artist?
FH: I’m very honoured to receive this grant. It means that I can dive deeper into my process to develop it and give myself the space in terms of time and money that is needed to take it seriously.
NM: The stipend celebrates excellence in graphic art. What do you think makes your approach to graphic art unique, and how does it align with the values of this award?
FH: I have never worked in a particularly traditional way with any medium. Instead, I prefer an experimental approach to the materials I use and enjoy discovering my own unconventional techniques. My sand drawings can be defined as drawings, paintings, or graphic art and I’m glad the jury thinks my work fits in this context and may contribute to widening the definitions of what graphic art can be. It’s really a kind of printing technique I’ve developed, but without a press and with an ever-changing result.
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Paul Fägerskiöld: Mapping the Mind through Painting
Written by Sandra Myhrberg
In his latest exhibition at Lützengatan, Paul Fägerskiöld unveils a new series of raw, introspective paintings. These works, featuring vertical structures on fields of color, explore the essence of image-making and the act of painting itself. Using symbolic pillars and shelves, the paintings act as blueprints of a cognitive “mind palace,” where abstract forms transform into recognizable images.
Rooted in art history, the series draws from 18th-century Korean Chaekgeori and the Renaissance interplay between Disegno and Colore. Fägerskiöld continues to evolve his visual language, offering a fresh perspective on the relationship between form, color, and meaning.
You work a lot with time and space. Can you elaborate on your view of the present?
I don’t know how abstract one should be :) On one level I think of all segments of time as parts of a 4-Dimentional sculpture. Seen from a different perspective all the things we base our experience of the world on, before-after, cause-effect, history-present-future would all form an entity containing all its stages. In other words the chicken is both egg and hen at the same time, seen from this perspective In a more reality bound view the present is our experience of time passing. The interface on our journey through space-time.
What does your working process look like?
Like most things I work cyclical. And there are many different cycles ongoing at the same time. I constantly collect ideas, do sketches, take photos and reflect on stuff in the studio. Some of those ideas or notes from my notebook hold more than I first thought and after a couple of years they start to connect to other ideas and it becomes necessary to investigate them more. This is done by doing a lot of “bad” paintings and sketches, trying to reach past the initial often to literal idea. Sometimes there is more. Sometimes I find something along the way, a sketch or an idea that breaks what I had initially intended and opens up for something more interesting. In a later face of that cycle I start to make choices regarding what that work asks for in terms of scale, presentation, color etc. And if I ́m working on an upcoming exhibition those choices also relate to the works as a group, what do they add to each other, to the exhibition space, to the viewer passing through the space and while doing so moving through different modes of perception. Once the exhibition is up that cycle continues with reflection, finding new questions and points of curiosity and developing the work from where it was presented in the exhibition.
Can you describe the materials and techniques you use?
Generally I have been using traditional medias for painting such as oil-paint, gesso, graphite, acrylic on linen. But there is no conceptual block in my work, if the work would ask to be done completely different I would follow. In regards to technique, all the bodies of work I have done has asked for their own way of being made, which often has been very difficult to figure out. Some works has been made with brush, some with spray cans pressed in the wrong way. This show has been done only using cloth and paper to rub layers of paint onto the surface and then remove it, leaving thin layers of residue. And the drawing part of the paintings has been made over layers as well, almost carving into the linen using a graphite-pen. In the end, paint has been caught in the valleys made by the drawing, making the lines both graphite and paint.
What is your relationship with time?
Like most people I’m a mortal human being passing through space time just trying to make sense of it.
I once attended one of your vernissages. There were many layers, and it smelled of paint. Are you often working up to the last minute? How do you decide when a painting is “complete”?
Working towards an exhibition is a quite specific experience and process. It has become a point of total focus for me, I constantly make choices and learn what it is I ́m doing while doing it. The presence and the focus often demands unexpected things from me in terms of finishing the works, they often develop exponentially the last weeks leading up to the show, but even if most of the works are done 2 weeks before the exhibition the last 3-4 paintings that arrive to the exhibition might completely change the direction and the focus of the show. A work is finished when it holds its own ground, when it asks no more of me. When there is nothing I could do to make it find itself. Most of the time the paintings are not as I had thought or intended and part of my work is listening to the work and hearing what it asks for. An unfinished or failed work works the same way.
What drives your artistic practice?
I have for as long as I can remember asked myself questions about transformation and change, trying to make sense of how we create meaning and understanding in the world we live in. Those questions still drive my practice. But on a less cerebral level curiosity, fear, joy and necessity/urgency drive what I do. When something really intrigues me, it tends to be a good direction to go towards, if it at the same time feels a bit scary and fun it tends to be something worth investigating. Or when something feels completely necessary to do even if the arguments are lacking.
Your latest works are described as “cognition maps” or “blueprints of a mind palace.” How do you see the relationship between your inner thoughtsand the visual language in your paintings?
In some regard this show is the result of work I have done over the last two years, thinking about what it would look like painting the creative process itself. But hopefully its more archetypal than just my inner thoughts. I think of the different bodies of work in the show as investigating different modes of cognition. It started with thinking about Matisse’s painting the Red Studio and asking myself how it would work if I painted it. Making a painting of my actual studio felt completely irrelevant, but making a painting of the “mind-space” where I can see all my works at the same time and reflect on the language they all create together made more sense. At the same time I had sketches and notes for memory palaces that had accumulated over the last 6+ years. In cognitive research consciousness is divided into three parts. Perception that deals with the present. Cognition that represent memory and experience, making sense of the new impressions. And Prediction that takes us into the future. We live in a blend between these three nodes. In my work I started to relate the structures or Memory Palaces to the cognition part of this triad. The more abstract small works in the show, using the outline of my previous landscape paintings became a form in which I address perception in itself. Instead of depicting a specific image, scene or landscape, the paintings are interfaces between the world and the perceiving mind, before having made sense of it. The only painting in the show representing Prediction is the painting Tomorrow, it is one of the first paintings I made thinking about this show.
Your work often engages with art history, from Renaissance debates to Korean Chaekgeori. How do these historical references shape your creative process?
I think we as artists (and everyone else) live and work in a shared language, we add our part and play with, correspond to colleagues that were alive long ago in different parts of the world, at the same time as we participate in discussions with artist still not born (hopefully). It is difficult to answer how it shapes my creative process since I cant stand outside of it. It is a tremendous freedom and joy being in dialogue with artists and works I have thought much about. Since I come from a family of artists it has been my experience all along, we take up somebody’s idea, do something with it, and pass it back. Much like Jazz. Sometimes that idea is found within the family, sometimes in a different time on the other side of the world and sometimes somewhere completely unexpected.
Your paintings use monochrome hues as a base.
How does the use of color—or its absence—impact the meaning of your work? I generally strive to have the work be as clear and precise as possible, if it is necessary to add colours and make the work polychrome, I do so. But with specifically the Memory Palaces in the show the structure of them has demanded less action in the paint, otherwise the result has been to chaotic and lacking focus. Even if a painting is perceivably a monochrome I very seldom use one colour to make it. The green Memory Palaces in the show for instance are made with at least four different colours of green, one layer going to very warm yellowish green and one layer towards turquoise. In the end the differences in layers is difficult to notice but the end result is much more vibrant and alive than a monochrome done with the same color.
2024 Paul Fägerskiöld / Nordenhake
Mind Palace
On view 09.11 – 21.12.2024
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An Interview with Cherrie

Written by Natalia Muntean by Sandra Myhrberg

For over a decade, Cherrie has remained a dynamic force in Scandinavian music, blending soulful R&B with personal and cultural influences. Known for breaking boundaries with her independent releases, Cherrie is entering her ‘Obsidian Era,’ where she fully embraces her duality—balancing strength and vulnerability, tradition and innovation. Her latest project, built on resilience and creative free- dom, not only marks her growth as an artist but also as a leader in nurturing emerging talent. With a particular focus on empowering women through her label, Araweelo, Cherrie is working to create a supportive ecosystem of female entrepreneurs and creators. From sold-out shows in Brooklyn to offering mentorship to local artists like Saru, her influence continues to expand both in and out of the studio.

WITH FOUR ALBUMS BEHIND HER, SHE NOW FOCUSES ON CRAFTING STANDALONE SINGLES THAT CONNECT ON A DEEP- ER EMOTIONAL LEVEL, ALL WHILE MAKING STRIDES IN FASH- ION AND MENTORING THE NEXT GENERATION OF ARTISTS.

Odalisque Magazine: You’ve just released a range of new songs this year. Can you share the inspiration behind them?
Cherrie: The crazy thing is, there’s a whole backstory to these new songs. This is the sixth single I’ve released independently, a great thing for me, especially doing it in times of economic recession. It’s been such a blessing to be able to put out music on my own, with the help of my friends. It’s called the Obsidian Era because I am very focused on the Obsidian gemstone. It’s a symbol of change and strength - having the courage to go through these changes and maintain a sense of independence. I went into my first era during the pandemic and returning to the independent label work style I was used to felt like a scary change. I didn’t want to release an album this time, because I had already released four. But I still wanted to create new music and for the singles to have a cohesive sound, and be a part of each other. As a Gemini, I often see things from different perspectives, and I wanted that duality to come through. Most importantly, though, I wanted to come back to real R&B with this release.

OM: Tell me about your latest song, ‘Lack.’ Where does it fit into your Obsidian Era?
Cherrie: The latest single, called Lack, means “angry” or “mad” in Swedish. It’s about love, broken trust, and being fed up. You can also view those more aggressive emotions from differentperspectives. My songs this year have all explored different feelings: one was about independence, another about love, one about being truthful, and another about life. It’s about embracing the duality of your emo- tions. I feel like Lack is just an extension of this Obsidian Era—a year of returning to indie music and creating everything I’ve done independently.

OM: Why is it called the Obsidian Era?
Cherrie: The reason why it’s called the Obsidian era is because of what the gemstone represents. It’s a black gemstone with stripes of colour and white in it, just like how I feel my music is. I grew up on Scandinavian pop, but at heart, I’m still an African girl who loves black RnB and Hip Hop, with a twist of Afrobeat. I also have to mention that I’m a real nerd—I love sci-fi. If you’ve ever watched Game of Thrones, you’ll know the stone they used to destroy the ‘bad guys’ was Obsidian, which I think is very cool too. So, it’s kind of an extension, representing the duality in everything I do.

OM: Being known and praised for your soulful R&B, are there any new directions or genres you’re interested in exploring coming back?
Cherrie: I wouldn’t say I’m heading in a different direction, it’s more about exploring and developing the genre I’m already immersed in. R&B, for instance, stands for Rhythm and Blues—it’s such a broad genre that’s evolved and grown over many years. I feel the need to explore different directions within the music I love. It’s a genre from which almost all pop music stems, which is why you can hear similarities when you listen to pop today. Or why R&B blends so easily with hip-hop. Not to mention, Blues even inspired Rock. For me, my artistic growth lies in continuing to explore what R&B is, without losing my identity. With my African roots, I also want to honour that heritage, drawing inspiration from Somali and West African music, or even Afro Beats. Lately, I’ve also been getting into Bollywood music from India, which I think is cool. I always want to push the boundaries and expose myself to different genres. As a songwriter and producer, in all aspects, I’m constantly striving to push myself and the music I create.

OM: How was it to become an independent artist again, and have control over your creation?
Cherrie: This year, I had a big plan for what I wanted to do when I became independent again. But making that jump was scary. Going from having a team of 40 people working around you to having to do everything yourself – from PR releases to editing your music videos. But this is what I love, the fact that I can dive into the different aspects of being an independent artist and share my art with everyone.

OM: I have seen you have been working with fashion a lot, for example with your sister, how was that?
Cherrie: I feel like I’ve been working a bit in the shadows during these past few years and now I can finally show my work to everyone. A lot is coming this year, and I am very excited about it.
On the fashion side, there is a lot of development. My sister has started working a lot with fashion content, so being able to work with her is so much fun. I love to work with family and have us growing together side by side. To help each other and just be part of each other’s projects. Everything I have been working on for the last couple of years makes me super excited to show it to all next year, I feel like there is a lot to look forward to. For example, I will be going on an international tour next year, which I am super excited about.

OM: With a busy schedule and a lot of different projects, what do you enjoy during your time off?
Cherrie: A lot of my time goes into music because I love it. When I’m in Sweden and not traveling – it might sound boring, but you’ll find me in the studio, reading a book, or discovering an awesome sci-fi or anime show to watch. Being single also gives me the space to enjoy my own company – I love taking long walks or going to the gym to relax and work on myself. I think it’s important to have those days too. But the studio is my main thing, even on off-days. I’m lucky to have a studio at home, which makes everything so much easier – I can keep my creativity flowing and sing whenever I want. I love just chilling there, where I can relax while still being creative. I feel like those are my real “me” days. It’s a way to express myself, like self-medication in a sense. That’s how I usually spend my time.

OM: What have been some of the biggest challenges you’ve faced as an independent artist, and how have you overcome them?
Cherrie: This year, it’s been scary because, suddenly, you have young freelancers and people working for you, and you’ve got to make sure everyone is working so they can eat and feel like they have a purpose in your project. I’m very keen on ensuring that the people who work with me feel like they are part of something bigger that elevates all of us. That’s a huge thing for me as a business owner. As an independent, you have a lot of different tasks to manage. You have to wear the branding hat, the man- agement hat—just everything. The challenge is definitely more on the administrative side of being independent. For example, budgeting can be tough if you don’t get help from a consultant. It’s mainly about finding the time to get everything done. But I wouldn’t have it any other way.

OM: Do you have any advice for others?
Cherrie: With branding and PR as an artist, it will take time. It can be very tough to get your music on public playlists and have someone who knows the industry push it towards radio, but I’ve been blessed that this part has been working quite well for me. This year specifically, I think my music stands out from others – and that makes it easier to connect with listeners. And being nice to people, while wearing all these different hats, is so important. As a solo artist, it can be tough when you’re stressed and on a huge tour with shows every night. With today’s technology, you can literally record demos on your phone. It’s that accessible. It’s easy to learn different crafts on YouTube, including how to download free beats and learn to record. Be comfortable with how you record yourself because it’s very different from just singing without a mic or performing on stage. I’d say, first and foremost, the music is yours and yours alone, so make sure your product is something you fully own and understand – know the goal and the meaning behind it. Really train yourself to gain that control. Especially if you’re a woman in a room full of men, stick with your gut and do what you want to do. Own the production; it’s important. When you do get into those big business meetings or studio sessions, you’ll be prepared for what you need to bring to the table. And when you’ve trained in that area, things usually start falling into place. So, what I tell most of my friends when they ask is: Just start with your computer and a simple mic, and learn to record yourself. That way, you’ll at least have demos ready when you get into those rooms where you need to introduce yourself.

OM: You have very devoted fans, could you describe what they mean to you, and can you share a memorable interaction with a fan?
Cherrie: I’ve had some amazing fan interactions over the years. I can’t put one above the other. But the best one this year would be when I was doing a show in Malmö and 40,000 people were singing along to a song that I released 10 years ago, and they sounded crazier than a football stadium. It was this amazing group of people, I saw people standing in the front singing their hearts out to the music, and that gave me goosebumps. So that’s the craziest fan interaction I’ve had this year and that I will never forget.

OM: You mentioned the importance of strong women in your life. How do your personal experiences and relationships shape your music and overall artistic vision?
Cherrie: I grew up surrounded by strong women—it wasn’t really a choice, that’s just how it was for me. I’m constantly amazed by their strength and what femininity does to save the world. I’ve never stopped being inspired by women. That’s why I work so hard, and I work hard for myself because all the women in my life have done and continue to do that. It’s also a way for me to have fun. If I were to start making lighthearted music that didn’t have a deeper connection, it wouldn’t make sense, especially when I have all these amazing personalities around me. So, it’s just second nature, I guess. Also, as I’m getting closer to turning 33, there’s so much feminine energy—amazing energy— that just keeps evolving and growing. You can hear it in the music, in the vision, in everything. And honestly, not even my favourite artists inspire me as much as my sisters, my girlfriends, and my mom. That should tell you everything.

OM: You sometimes have projects outside of the music industry. Is this something you like, and feel that you can be creative about?
Cherrie: I love making music videos, and that’s one way to visually represent what you want to say with the music. I see frequency sounds; it’s when you can see certain emotions through colours. A lot of my music videos are very community-based, with people from both my new and old communities, but I still use things like colours— pastels and sunsets—to give it that playful edge. It’s the same when it comes to beauty and other creative expressions, and I’m definitely going to, and want to, venture into other areas. I’m excited about that, and I feel like this opportunity I’m getting now is a step toward that. I’m so grateful for it.