Simon Klenell explores our relations to esthetic expressions. He reacts to things seductively beautiful or sometimes grotesque. His home decor pieces are very distinctive and glamorous.
Sunne is where Klenell first learned to blow glass at fifteen, under the watchful gaze of his parents (his father is a glassblower by trade; his mother, an installation artist working with the material). “It’s beautiful here, and it’s calm and it’s easy to concentrate,” Klenell says. “When I was a kid, they hosted workshops here at the studio, with people coming from all over Sweden and other places in Europe and the States. I thought it was an interesting way to meet people.”
Simon is graduated from Orrefors Glass School 04-06 and BFA Konstfack University College of Arts, Crafts and Design 2006- 2009. In many cases he uses accepted or iconic objects and use them as symbols to be altered into new meanings. A kind of wordless wordplay.
Was he ever afraid of touching glass—even when he was very small? Never. “This is how I grew up,”
Like many artists who work within a ‘craft’ practice, functionality—and, more importantly, expected or perceived functionality—offers an entry point to Klenell’s work. In older sculptures, the lips of a drinking vessel are met with the end of a thick glass balloon, removing the physical entry point. Tumblers and vases are smashed together, forming long, alienating structures. In depriving craft objects of their assumed utility, Klenell renegotiates the culturally coded expressions embedded in the material. It’s a simple premise (one he doesn’t claim to be original), but it’s effective.
Simon’s works are represented by Gallery Fumi.