Linda Weimann

Linda Weimann

Since Linda Weimann graduated from the Royal Danish Academy of Fine Arts, School of Design in 2010, her practice has been interdisciplinary in the field of traditional craft and new expressions, focusing on redefining ornamentation both in process and expression. She exhibited four pieces from her ongoing ‘ELEMENTS’ series at the Ordinary Miracles exhibition at Dutch Design Week 2022 — here Linda discusses more about the series and the inspiration behind it. 

What ideas are you exploring in your ‘ELEMENTS’ series?

The core idea is to explore how harmonies and rhythms appear from a process of variations. I am interested to see how the shapes work in different algorithms. From there, new aspects always come up, and I never seem to find the perfect shape - which makes me keep doing it. The traditional craft interests me, and the whole idea is to re-think and use this as a way of thinking and doing.

What were your main influences when you when you started to create this series? 

My inspiration definitely comes from the craft behind it, in that, I observe how things are made from the gypsum process itself. I am driven by the methods and the connection to the materials, and seek a cross-field that can provide a new agenda. The main influence is the investigation of the language of ornamentation, and how to push the heritage in a direction. In the sculptures, I wanted to explore a small-scale object with connected details and spatial ornamentation. The aesthetic expression should create a bridge between it and seek the boundaries.

What kinds of shapes and forms does this series draw inspiration from? 

The main shape is the profile shape and a twist from a classic circular rosette. Here I take steps into how it can be manipulated from different perspectives. I see this as a geometric shape that can balance to a more soft expression. The profile and edge focus is a very classic item to work with, and people before me invented it, which I find very interesting. My work is about how to make an impact on this: simplify it, expand it and develop it - find the hidden track of something. The ideas are often from small transitions between a space detail, or the way a geometric shape meets a soft curve. The frame itself as the sculpture or object inspires me because it always relates to its surroundings.


How did you begin working with gypsum and raw pigments in your work?

I started this specific work with my candidate at Denmark's design school where I did a huge investigation of this as a theory and subject. But before this, my father's work had been my trigger to do this. My father was an artist and a gypsum expert, I had access to this in my life, and so for sure my background also gave me a way into this.

The use of raw pigment is a collaboration with the Italian brand Matteo Brioni. It started with the idea of combining gypsum with another aesthetic material that aligned with that philosophy. This collaboration of surface and shape is based on a mutual idea of how to bring tradition forward. The complexity of materials is also something that blended very well and the earth colour seems to give my shapes another, more tactile, dimension.

How did working with these materials influence the making process?

The gypsum is central to, and aligned with, the making. The ‘ELEMENTS’ sculptures are made from big drafts - like in the traditional methods of making cornices, so everything is made by hand and as a profile shape piece. The material gives a way of making, and so it is completely a process that works with one dependent on the other.


How do these four pieces tie in with the rest of the series? 

The four pieces represent my latest editions of ‘ELEMENTS’ sculptures, they are in a family with the whole series. I see the ‘ELEMENTS' sculptures as a continuous development, and this may be the new direction for my future shapes. 


How do you see your practice developing in the near future?

My work is based on one-of-a-kind editions and site-specific work. I hope to keep developing my expression and fine-tune my practice. My development is carried by a curiosity about context and how to bring my work into new approaches. I see my work not only as sculpture but an approach that can go into many fields. 

Photography by Chloe Alyshea