Gunnel Wåhlstrand

Interview

How would you describe the work you were doing when you received the Maria Bonnier Dahlin Scholarship, and what did the scholarship mean to you?

I received the scholarship in 2003, the same year I graduated from the Academy. Receiving the scholarship was both important and encouraging. Suddenly, many people noticed my work, and the financial support made it possible for me to continue working in the studio.

What discussions characterized the art scene at the time, and what was particularly important to you?

At that time, the art world I knew was mainly connected to the Academy. I spent most of my time in the studio and tried to focus on my own work. I do not remember any particular political discussions or artistic climate shaping me directly. Then, as now, it felt as though everything was possible at the same time. Conversations, music, films, and art history lectures were important influences.

I worked from photographs in ink, trying to understand and recreate the time surrounding my father, who had passed away.

What exhibitions, films, and books were important to you, and what music did you listen to?

I listened a great deal to Wendy Carlos’ Switched-On Bach and remember Michael Haneke’s The Piano Teacher as one of the strongest films I had ever seen.

What are you working on today?

Today, I continue to work in a similar way, although the subjects have changed somewhat since I began. My next project is a solo exhibition at Magasin III in September 2016.

This text is an excerpt from Samlade stipendiater!: 30 år med Maria Bonnier Dahlins stiftelse, edited by Niclas Östlind (2016). Stockholm: Bonnier Fakta.