Daniel Gillberg is a Swedish full time artist, maker and paper conservator, currently based in Berlin, Germany, undertaking a long term residency at the Centre for Ceramics. He mainly creates unique functional ceramic pieces with layers of image- and photo collage transfer and also does photography, currently experimenting with various printing techniques such as polaroid, intsaX and large scale hand coloured black and white laser printing.
Daniel studied glass, ceramics and photography at Östra Grevie Fhsk, Mullsjö, Leksands Fhsk and Bilder - Nordic School of Photography. He also holds a degree in the ‘Science of Conservation of Cultural Property’ from the University of Gothenburg in Sweden, specialising in the conservation and restoration of historic wallpapers and fine art on paper.
Daniel has given talks and workshops both about his own work, the creative process and the use of social media, as well as special topics within the field of conservation in both Scandinavia, the US and the UK. For two years he was the curator for the queer artist project; Pride Art Oslo, and he has been featured and published in Ceramics Monthly, The World of Interiors, Magasinet Kunst, Kungliga Magasinet, and podcasts Tales of the Red Clay Rambler and The Potters Cast. He has exhibited his work in Sweden, Norway, Australia as well as the US, and as a specialist paper conservator, Daniel has worked for both private and public clients and colleagues in both Sweden, Norway, Germany, Brazil, Japan, America and the UK. The Scream collection at the Munch museum in Oslo, Norway, The National Museum of Norway, Bauhaus Archiv Germany, Royal Institution of Great Britain, UNESCO World Heritage Drottningholm and the Chinese Pavilion, as well as the private home of the Royal Family of Sweden. Materials ranging from early Buddhist manuscripts to hand painted mid 17th century Chinese wallpapers to more known contemporary art and photography such as works by Warhol, Banksy and Mapplethorpe.
As an artist, Daniel investigates and explore the ever changing nature of inter-human relations and the traces of living left behind in the urban landscape. Organic forms and shapes that easily connects with the hand appeal to him. He like to think of his ceramic pieces as made rather than produced. He often find inspiration for the shape of his pots in traditional functional ware.
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