2025

Vacui
Sandcast aluminum, inlayed kiln cast glass, steel wire
ø 80x3 cm

Shown in the group exhibition Can’t see wood curated by Dotdotdot

2024

Jordskärning
Paviljong Lux
Konstbukern/Örebro Konsthall
Exhibition

The exhibition was produced with the support of Riksförbundet Sveriges Konstföreningar och Kulturrådet

Jordskärning (Earth cut) starts with the ever-changing material evolution and questions what is visible or hidden and where you find landscape. Sculptures in cement, stone, bronze, aluminum, ceramics and glass take place in the room and shares a dialogue with each other, the subterreanean and deep time. There is an intrinsic narrative present in materials with a long history of geological transformations and transitions which now find themselves in a human production cycle and in direct relation to our own bodily and existential movements. 

1 Vandrare (2024)
Sand-cast aluminum, stainless steel pipe, steel base
231x30x62 cm

2 Installation view

3,4,5,6 Jordskärning (2024)
Tiles in glazed stoneware, sand-cast aluminum and terrazzo with intarsia of sculpted porcelain and glass, brick debris, aluminium, stone, iron shavings, porcelain pebbles. Objects on top in cast glass, brick debris, found beach glass and bronze
180x210x2 cm

7,8 Isbark (2024)
Sand-cast glass, sand-cast aluminum
37x22x3 cm

9 Sjöar av brunt (2024)
Glazed earthenware, walnut frame
Two pieces, each 27,5x22,5x2,5 cm

10 Installation view

11 Stjärnskott (2024)
Cast bronze
14x5x7 cm

2024

Mjuka berg, hårda jordar
Mossutställningar
Exhibition

1,2 Bula (2024)
Slumped glass, aluminum frame
30,5x31x3 cm

3 Installation view

4,5 Snö, snö, snö (2024)
Sand cast aluminum
3 pieces, each approximately 10x8x9 cm

6,7 Smärta, möda, vila och behag (2024)
Glazed stoneware tile, aluminum frame, inherited collection of iron slag collected in Bergslagen
41x28x8 cm

2023

Shapeless mass of matter
Markakt (with Jenny Käll)
Exhibition
SÍM Korpulfstadir, Reykjavík
Found objects, sand, basalt, cardboard, concrete, vax, plaster, audio
Varying dimensions

Supported by the Swedish arts grants committee

2023

Är måleri målning?
C/o Burling
Exhibition
Participating artists: Birgitta Burling, Hertha Hanson, Chien-Kuang Liu, Disa Rytt & Sara Söderberg

1,2 - Det söta vattnet (2023)
92x49x2 cm
Kiln cast uranium glass

3,4 - Krypande skuggor (2023)
81x41x15 cm
Sand cast aluminum

5,6 - Ett mörker fullt av små hål (2023)
Installation 30 x 90 cm
Sand cast stoneware, porcelain, glass, glaze

2023

Om de branta skiljande ytorna
Uppsala kommun
Curator Björn Norberg
Public commission
Östra Sala backe, Uppsala
Terrazzo with inlay in porcelain, glass and stone. Sand cast aluminum, stone, gold leaf
4x4,1 m

2023

Solen skiner över träd, gräs och stenar
Markakt (with Jenny Käll)
Örebrobostäder
Public commission
Playground for children aged 0-3 years
Markbacken, Örebro
Glazed stoneware, concrete, iron, sand
Varying dimensions

Photo: Robin Åhlgren

2022/2023

Ett land, en dag, en natt & Andra sidan
Stockholm konst
Curator Stefan Hagdahl
Public commission
Vårberg
Glazed stoneware tiles
48x2,5 m

Photo: Giulia Cairone

2022

Echo
Barklund & Co
Exhibition
Sand cast and sculpted stoneware and porcelain, glaze, iron, glass, gold, re-fired brick debris
Varying dimensions

Photo: Sanna Lindberg

2022

Berget igår
Markakt (with Jenny Käll)
Art Lab Gnesta
Commissioned project

A site-specific project examining Holmen in Gnesta and it’s adjacent landscape. We made a raft from local timber to expand our reach. The off-cuts were burned to make tar which we used to seal the wood. Material change is constant. Floating on the surface, measuring the depth, marking the level where the shore used to be and wondering where it’s going. The landscape will never again be the same as right now. We sewed work uniforms and a flag/sail and dyed the fabric with our food waste. We painted the landscape with clay dyed with iron oxide and turmeric to direct the view. Rocks were reformed and placed back where we found them. We left our marks and became part of the movement.

The project was presented at Holmenfestivalen on 17/9-22 and documented in a publication.

2022

Minne, material, mineral
Art Lab Gnesta
Exhibition

1,2 Teknofossil (2020/2022)
Concrete
245x420x7 cm

3 Installation view

3,4 Löst material (2022)
Brick debris, iron, oil pastel
50x490 cm

Gotland och Bangka Island utanför Sumatra i Indonesien delar, förutom att de är öar, också rollen som brytningsplatser för material som den globala industrin är beroende av. En tredjedel av världens tennbrytning pågår på Bangka: tennet är avgörande för utvecklingen inom exempelvis artificiell intelligens och förnybar energi. På Gotland pågår sedan en tid tillbaka en strid om de ekologiska konsekvenserna av kalkstensbrytning för cement- och betongproduktion, som fått den svenska regeringen att agera.

Från kalksten till cement och tillbaka rör sig installationen Teknofossil (2020) av Sara Söderberg, som fyller stora utställningshallen och bäst upplevs barfota. Verket sammankopplar oss med de 450 miljoner år gamla fossiler i bergarten som nu oåterkalleligt upplöses och genom betongen förvandlas till homogena byggnader i den moderna världen. I verket Löst material (2022) har konstnären staplat tegelrester från Sveriges sista, numera nedlagda, tegelbruk i en ryggradslik konstruktion. I Riar Rizaldis videoverk Kasiterit (2019) möter vi berättaren Natasha – en solcellsdriven AI-röst – och närmar oss hennes ursprung genom en sorts släktforskning. Här guidas vi genom tennbrytningens framväxt på Bangka genom naturantropologiska, geopolitiska och värdeteoretiska perspektiv.

Ekofeministen Val Plumwood har kallat platser som dessa för skuggplatser. Genom den globala kapitalismen har de varit med att bygga kroppar och liv långt bort från sina geografiska lägen, och är på så sätt platser för gemensamt ansvar. Vad innebär det att upprätthålla kontakten med ursprunget bakom de vardagsmaterial som möjliggör ett högteknologiskt samhälle? Och samtidigt ta ansvar för den påverkan dessa utvinningsprocesser har på människors och andra livsformers arbete och agens?

Välkommen in i en utställning som reflekterar kring tennets och kalkstenens relation till djup tid, samtida kroppar och en möjlig framtid av ny omsorg.

2021-

Markakt (with Jenny Käll)
Collaborative practice

Markakt is a platform for collaborative artistic research. A site, a material or a trace of an event becomes the starting point for a dialogue around the ground beneath our feet. What is the ground’s experience, what do want from it and what does it want from us?

Markakt is a duo between artists Jenny Käll and Sara Söderberg.

2020

Spectrum
Uppsala läns landsting
Public commission
Uppsala nya bussdepå
Glazed handmade stoneware tiles
Varying dimensions

2020

Omvandling pågår
Statens konstråd - Lokala konstprojekt
Malmberget
Public art project

A site-specific, self-initiated project in Malmberget, funded by Statens the Swedish arts council. I was interested in how material was valued, used and wasted while this evacuated town was being demolished to make space for the expanding iron ore mining. Most of the people had moved away and the buildings where taken down one by one. I invited artist Jenny Käll and architect Malin Rönnerfalk to an artist-in-residence in a former school where we lived and worked. LKAB gave us all-access to buildings and fenced-off sites.

Four public installations where exhibited in July/August 2020 and the project was documented in a publication.

2020

Technofossil
Stockholm konst / Trafikkontoret
Curator Frida Cornell
Public commission
Concrete, stell frame
4x2,5 m

A biological, turned geological, evolution irreversibly altered by human interaction. The unique 450 million year old relics within the limestone blocks mined at the Cementa quarry on Gotland are transformed into a homogenous powder, cement, to build the modern world with a massive impact. Limestone fossils, to concrete, to techno fossils.

The installation of a cast concrete relief was temporarily installed on Swedenborgsgatan from June-August during the summer exhibition Levande Stockholm.

2018-2019

Köttet av en kvinnlig gud
Jord Rum
Mossutställningar - Konstnärliga avsmyckningar
Norra Djurgårdsstaden
Public commission

A site-specific project looking at the newly developed neighborhood Norra Djurgårdsstaden and its self-proclaimed sustainable approach. A collaboratively built installation using handmade bricks from local clay, recycled bricks and altered bricks from Sweden’s last brick factory (closed in 2020). The work was produced within the project Konstnärliga avsmyckningar - jord. Jord Rum, a window installation with 1 ton of earth at subway station Gärdet.

2017

Steamy, steady & sanctuary
Konstfack MFA degree exhibition
Site-specific installation
Sunds grustag
Clay, sand, stone, timber, iron, earthenware

I built a public sauna as a suggested destination to share for anyone interested in a former stone quarry. I wanted to question the idea of ownership and challenge the experience of spaces we share and meet in: who makes them, for whom, using what techniques and what materials. Made by hand using mostly material readily available in and around the quarry; clay, sand, stone, gravel, hay, manure and timber.