Kristin Andreassen is born in Norway, May 21, 1959. She is a Norwegian-Swedish ceramicist and educator. Kristin studied at the Statens håndverks- og kunstindustriskole (Norwegian National College of Arts and Design, ceramics department), Diploma with distinction, in Oslo from 1980 to 1984 and at the Art Institute of Chicago in 1987. She has had her first solo exhibition at Nordenfjeldske Kunstindustrimuseum in Trondheim in 1985. She was awarded the Värmland Art Association's Thor Fagerkvist Scholarship in 2011 and the Bavarian State Prize in Gold for her participation in the Internationale Handverksmässe in Munich in 1987. She has been a teacher at Statens håndverks- og kunstindustriskole 1987-1989 and from 2010 at Karlstad University (SWE).
Andreassen's work is represented at the Victoria and Albert Museum in London and the Museum für Kunst und Gewerbe in Hamburg in Germany, Badisches Landesmuseum in Karlsruhe, Australian National University in Canberra, Nasjonalmuseet for kunst, arkitektur og design in Oslo, Vestlandske Kunstindustrimuseum in Bergen, Nordenfjeldske Kunstindustrimuseum in Trondheim, Nordnorsk Kunstmuseum in Tromsø and Värmlands museum, among others.
Kristin Andreassen is living and working in Karlstad Sweden.
Images: Kristin Andreassen, portrait (source AIC-IAC); Kristin in her workshop (source Norske Kunsthändverkere); porcelain vessel (source AIC-IAC); two heads (source Linkedin); zzzDreamer (source AIC-IAC).
Kristin explains: "The surface has always been interesting to mankind. It may be seductive, treacherous, cold, warm, or have almost any character. Underneath it processes are going on that creates tensions on the surface. They are our only possibilities to understand what is happening behind the surface. Is it by studying a surface possible to have a glimpse of, or understand what is going on behind it? How do we project our own experiences to the interpretation of a surface? I am especially interested in materials and techniques, and continuously try out new techniques and surface possibilities. My own work in ceramics is much about surfaces applied on form. Whether I make abstract forms or human figures, the hidden messages behind the surface are open to interpretations for the viewer."