The Beginning of an End
For a number of years, David Svensson has been collecting and working with old books. In his series Stories, he has framed books that are around 100 years old. The framed books show page spreads from either the beginning or the end of the books, the pages that are without text. Throughout the lifetime of the books, light has processed the paper so that these pages evoke hints of memories, time and hidden meanings. In a series of larger, completely new works (Coverings), older book covers are composed collages, where materiality, color and composition highlight the tactile qualities of the old books. Thus, each work becomes a formal abstraction, while the concrete form and essence of the book is very present.
In the 19th century, glassworks in Central Europe began using uranium to make the glass yellow and green. Due to the added uranium, the glass becomes luminescent green in ultraviolet light, and the uranium continues to be picked up by a Geiger counter. Thus, the uranium glass possesses an inherent energy, quite specifically. Through years, David Svensson has collected and purchased uranium glass objects, and in the work The Melting Down he has used a number of these objects. Slowly, the objects has been heated to a temperature of 600-700 degrees where the glass begins to melt, losing its original shape. The melting process has been stopped, at a point where in some cases we recognize the original form, in others see the hint of it. In this way, the object encapsulates a time that has passed - something that has disappeared or is in decay and at the same time can still be remembered or seen. In his public commission The Radient Globe (2014), at the entrance to Skandiaklinikken in Uppsala, David Svensson has also used uranium glass.