Charlotte Gyllenhammar works primarily with sculpture, photography, video and installation, although her artistic career began with painting. The breakthrough came in 1993 when Gyllenhammar hung a 120-year old oak tree upside-down on Drottninggatan in Stockholm. The themes touched upon by the early works, such as vulnerability, rootlessness, control and conflict, still return still in her artistry. Several of her sculptures can be found in the public sphere.
Gyllenhammar was educated at the Royal Academy of Fine Arts in Stockholm and the Royal College of Art in London, with a degree from the latter in 1991. Today she is considered one of Sweden's foremost artists and her works have been included in the collections of, among others, the Moderna Museet in Stockholm, Kiasma of Helsinki, the National Museum of Women in The Arts, Washington and Power Station of Art, Shanghai.
Exhibitions: Summer 2016, Kristinehamn Museum of Art
June 2016: The Garden Party, Thiel Gallery, Stockholm
November 2016, solo sexhibition Fotografiska, Stockholm
January 2017: group show, Whitechapel Gallery, London
Said: Suzy Menkes, NY Times: "The striking images of the artist Charlotte Gyllenhammar stand out for the nervous, contorted face buried in a whorl of fabric shaped into a full-blown rose. The artist explained that the image of a woman hanging upside down was shot in large format from underneath. The inspiration was an uprooted oak tree that Gyllenhammar captured in a Stockholm street in her earlier work 1993. “The vision I had was quite brutal - and I didn’t want to cause her more pain” said the artist referring to the process of exposing the inverted woman’s body and legs. The comment suggests that there is a certain bond between women artists and their female subjects."
Public works: Sculpture/fountain "Mother" in Hyllie, Malmö. Read more
Göteborgs Stads memorial för Raoul Wallenberg. Read more
New public work in Malmö, "&child", September 2016
Charlotte Gyllenhammar about Natt: "The work has something of both dream and nightmare about it, I have wanted to depict both the inner and the outer image. Metaphorically, fire can represent the spirit and a burning passion. Physically, the burning figure is perhaps the worst condition a human being can be in." Read more
In Ruby, Gyllenhammar takes the gemstone out of context and examines it in close-up. Facets and light breaks reflect the ruby's multifacetedness with crystalline sharpness. Read more about the work
Självporträtt (Self portrait) is a multilayered work, printed as a lithograph in 1994, where Gyllenhammar has depicted herself seated at her desk, in front of a mirror, in the temporary studio she set up inside Carl Milles old studio at Millesgården. In her hand she holds a portrait of a relative, portrayed from all possible angles, a common method of...