Visual artist. Born in 1987 in Stockholm. Sameland has a Bachelor of Fine Arts (2013) from Konstfack, Stockholm. She lives and works in Malmö.

Artist Statement
My approach at the drawing board is based on established artistic approaches such as the portrait, monument or still life. For Good Vibrations, I have chosen to put together several series which I have been working with since 2017. The Monument/Portrait series is the oldest; a collection of drawings depicting detergent bottles inspired by Renaissance portraiture. It was through cleaning that I rediscovered drawing. Nine years earlier I had entered painting school in Stockholm and started to hate painting already on the first day of school. I preferred to make dry concept art instead and applied to University of Arts, Crafts and Design (Konstfack) with conceptual ideas, drawings and texts. Almost a decade later, I was directed back into the realm of drawing via the kitschy shape of the Ajax bottle and my own hands reminiscent of painterly gestures when scrubbing and wiping. Since then, the series have grown. The World is Someone Else’s Oyster are oysters drawn on the inside of discarded cardboard boxes. Sexy Pear is a series of pears presented in flirtatious poses, blurring the boundary between the fruity flesh and the human body. Drugan Ruccola Hängbjörk, is a portrait series of a drag queen while Ornaments On Slide are sliding messy ornament systems, just to mention a few.

I used to draw objects that caught my interest but lately my starting point is body memories and imagination.  The Lucky Ones are drawn from memories consisting of pictures from early modernism, 60s architecture and the 90s children’s channel Nickelodeon. These three topics have intertwined and unfolded into a vibrant inquiry into happiness.

Recently I was seriously ill, broken down and exhausted in a very unique way. I was at my worst on New Year’s Eve. With a high fever I half-dozed to a documentary about Bianca Ingrosso and there was something about her emotional frequency that found its way into my subconscious. I don’t remember much of the documentary but Bianca Ingrosso’s emotional charge planned down something previously hard inside of me. Something that had been closed since painting school opened up after the documentary. 

On January 1, 2024, I woke up with a softness in my chest and a longing to paint. The Big Pink is one of my first paintings after Bianca Ingrosso entered my subconscious. I don’t know if she is still there but I am still soft and warm.

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Good Vibrations 2024.03.16 – 2024.04.14