FROM MACRO TO CERAMIC: UNVEILING ISABELLA HANSSON’S WORLD OF ART

In this edition, we sit down with Isabella Hansson, a talented Swedish artist whose work spans ceramics, photography, and painting. Based in Helsingborg and Ljungskile, Isabella’s art explores the intricate relationships between nature, materiality, and the human body. Through her macro photography and sculptural works, she invites viewers to engage with the small, often overlooked details of the natural world, creating a fascinating dialogue between abstraction and realism. In our conversation, Isabella shares insights into her artistic journey, her creative process, and the themes that inspire her work.

The following interview has been edited and condensed.

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COMA: Thank you again for your time, Isabella. Let’s start with your background and artistic journey. Can you tell us what led you to pursue art as a career?

Isabella Hansson: I’ve always been doing art from a young age, just for myself. My dad was really supportive when it came to creative things, so I spent time painting, attending art courses, and working with ceramics. In high school, I took an art course in my final year, which led to a small exhibition in my hometown. A principal from an art school happened to attend and encouraged me to apply, which I did. I got into a one-year art school, and from there, I just continued exploring and creating art. That time allowed me to experiment with different mediums and dive deeper into my practice.

COMA: That sounds like a great start! Was that initial exhibition in multiple mediums, or did it focus on one?

Isabella Hansson: At that time, it was mostly drawings and watercolors. I didn’t start working with a broader range of materials until I got to art school, where I explored ceramics, traditional painting, and photography. In photography, we did some analog work, but I mostly started collecting my own images and creating photo installations. From that point, my process became about documenting my inner state, mental health, and emotions through art. I would say I’m always evolving and trying different approaches, depending on the medium.

COMA: Your work spans different mediums like ceramics, photography, and painting. Do you feel this variety reflects the subjects you’re exploring, or is it more about your desire to experiment?

Isabella Hansson: It’s a mix of both. When I get an idea, I think about what medium would best express it. Sometimes, I might write or use text to convey the concept, while other times, ceramics might feel right. Each medium brings a different aesthetic, but the themes I explore remain consistent. I’ve never been able to stick to just one medium—I think I’m too restless for that.

COMA: Could you walk us through your creative process? How do you go from an idea to a finished piece?

Isabella Hansson: It’s not so much about starting with a specific concept anymore. Instead, I’m drawn to objects and forms—especially those found in nature. For example, when I go for a walk, I might find something that sparks my interest, like a shape or texture. From there, I’ll either photograph it or use it as inspiration for a ceramic piece. It’s a very intuitive process. For my photography, I often use my mobile phone with a macro lens. It’s all about getting close to the subject and exploring its details.

COMA: Nature seems to be a recurring theme in your work. What draws you to it, and how does it influence your pieces?

Isabella Hansson: I’ve always been fascinated by nature, both conceptually and visually. When I take photos, my driving question is often, “How does this look up close?” That curiosity leads me to explore the intricate details of objects and forms. It’s also about creating a connection between my body and nature. For example, during a residency in Thailand, I collected butterfly wings and took macro photos of them because the colors were so different from what we see here in Sweden. It was a way of bringing myself closer to nature and working with material in a new way.

COMA: Your work often blurs the line between the abstract and figurative. How do you approach that in your photography?

Isabella Hansson: That’s a big part of what I enjoy about macro photography. The closer you get, the more abstract things become. You might start with a real object, but the photo looks abstract because of how you’ve zoomed in on the details. That contrast between photorealism and abstraction is something I love working with. It keeps the viewer guessing and encourages them to look closer.

Pistill by Isabella Hansson
Organism by Isabella Hansson

COMA: Let’s talk about the collection you’re presenting with COMA. Could you tell us more about each piece?

Isabella Hansson: Sure! The pieces Organism and Pistill are part of a photo series. They focus on close-up shots of flowers, specifically a type called “syren” in Swedish. In Organism, the form almost looks bodily—like a mouth—which adds a layer of human connection to the natural subject. It has a sensual undertone, but that wasn’t intentional; I think it’s just the way organic forms can resemble the human body. Then, there’s Flora, a ceramic piece inspired by the shape in Organism. I wanted to bring that photo to life in 3D, so I mimicked the form in a sculptural way.

COMA: What about Hud and Havstunga?

Isabella Hansson: Hud, which means “skin” in Swedish, was made using a technique where I pressed clay onto foam with my thumb. It gives the sculpture this squished, skin-like texture. I liked the tactile quality of that. As for Havstunga, it’s another macro photo that captures a natural, organic form but from a completely different environment—this time, the sea.

COMA: Do you have any upcoming projects or exhibitions planned after finishing your studies?

Isabella Hansson: Nothing specific right now, but after my studies, I’d love to spend more time in the ceramics studio and work on bigger projects. It would also be great to do another artist residency. The first time I did one, I was just starting with photography, but now I have a clearer process and technique, so it would be interesting to apply that in a new environment.

COMA: Do you see yourself focusing on one medium in the future, or will you continue working across different mediums?

Isabella Hansson: I don’t think I’ll ever narrow it down to just one medium. While I might focus on a single medium for specific projects, I enjoy the flexibility of working with different materials. I’m currently more drawn to ceramics and photography, but I’ve also thought about doing some textile work. I think switching between mediums keeps me inspired and stops me from getting stuck.

COMA: Lastly, what advice would you give to emerging artists who work with multiple mediums?

Isabella Hansson: I’d say trust your own process. It’s important to listen to what feels right for you and follow that. Don’t feel pressured to stick to one medium or method if that doesn’t suit you. Let your own practice evolve naturally and use the techniques that resonate with you.

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Stay tuned for more artist interviews and insights into our ongoing art drop (Season 2). Visit our website and Instagram for the latest updates and to explore the incredible work of emerging artists like Isabella Hansson.

October, 2024 - COMA Editorial team