One could look at all of Annika Petterssons work as an entire body, a confluence of explorations into the physical world. Every series, and each piece illustrate a type of attempt to confront the world with a concrete set of limitations. Pettersson creates jewelry, and according to tradition, masters the skill of identifying and isolating preciousness in world where much has become indistinguishable. This is done not with the tense precision of a goldsmith, but rather with the gut reaction of a laborer. A hunter understands the physics of his weapon only in a visceral sense, a carpenter learns through physical repetition. This sincere understanding is a prominent aesthetic in the work of Pettersson, where knowledge becomes divorced from education and instead bonded to the physical activities of everyday life. This is not to say that the work lacks a conceptual background, each of the pieces abstracts itself by means of sensitive composition, subtle narrative, and links to a sense of melancholic remembrance. Petterssons work transforms everyday material into evidence, like marks carved into stone, an indelible trace of effort and intention. 

In her latest series “Time to Rend” Pettersson adheres to traditional adornment by utilizing a floral motif. ““The beauty of flowers is sad because they are fragile and destined for death, like anything on earth, of course, but flowers are particularly fragile, and like animals their corpse is only a grotesque parody of their vital being, and their corpse, like that of an animal, stinks.”” (M. Houllebecq, The map and the territory 2011) 

Inspection of the work reveals that what appear to be blooms are in reality chucks of split wood, fractured from a single piece. The pieces ask the viewer a question: How did this happen? At first it may seem an act of nature, but further inspection leads the viewer to the conclusion that this is not an act of pure phenomena, that it bears a subtle mark of the maker. In stark contrast to meticulously carved traditional woodwork, Pettersson’s flowers carry with them a masculine sense of immediacy, a kind of brawniness and heft, a spontaneous recognition of creation. Perhaps this is the thread that ties together all of Petersons work, regardless of the medium. Pettersson creates a literal sympathy with pre-industrialist production by linking the maker with the material. At the same time Pettersson takes a step away from a modernist tradition of the mastery of skill; the work manifests the spirit of the proletariat balanced with the mysteries of nature. All this is done with an intended regard to contemporary culture, in the same way that memories fuse fictional sensations with a concrete reality. 

Pettersson creates jewelry, objects connected to the body, so called functional items that, while serving no practical purpose, bear the imprints of necessary physical function.

Education 
2007-2009 Konstfack / MA Ädellab 
2004-2008 Konstfack / BA Ädellab 
2002-2004 Stenebyskolan Metallformgivning
2001-2002 Ölandsfolkhögskola Art

Exhibitions:
2013 Coolest Corner, Museum of Decorative Arts and Design, Oslo, Norway
2012 Merry Jewellery , Gallery Platina, Stockholm, Sweden | Corpus Container*, Hop Gallery, Tallinn, Estonia | Llody Hotel, Amsterdam, Holland | Tallinn Applied Arts Triennial*, Tallinn, Estonia | Koru 4*, Imatra Taidemuseo, Imatra, Finland | Alla. Röskska museet, Gothenburg, Sweden | Form/ Design Center, Malmö, Sweden | Expo, Gallery slang, Amsterdam, The Netherlands | Taste-Sweet, Sour, Salty, Bitter, Sur gallery, Stockholm, Sweden | The state of things,Pinakothek der Moderne, Munich, Germany | Frame, Int Handwerksmesse, Munich, Germany 
2011 Imporvasation*, Steinbeisser Lloyde, Amsterdam, Holland | ALLA, Stockholm, Kiruna, Boden, Malmö and Göteborg, Sweden | Chain Letter, Shoahana Wayne Gallery, Los Angeles, USA | Vem bär vad*, Konsthall C, Stockholm, Sweden | LOOK, Gallery Caroline van Hoek, Munich, Germany | Frame, Int Handwerksmesse, Munich, Germany
2010 New Traditional Jewellery, Villa Bengel, Idar Oberstein, Germany
The Museum of Modern ArtArnhem/Holland
SIERAAD,Amsterdam, Holland | SOFA Chicago, By Charon Kransen, Chicago, USA | Art Palm Beach,By Charon Kransen/ Florida, USA | Aeon profit - Piano forte* ,Platina, Stockholm, Sweden | It`s a Jewel-not a doll, Platina, Stockholm Sweden | Frame Hantverkmesse, Munich Germany | Konstslöjdsssalongen 2010, Röhsska museet, Göteborg Sweden 
2009 For long and faithful duty, Platina, Stockholm Sweden | International Graduation Show Galerie Marzee, Nijmegen Holland | Function and fiction, Engelska magasinet, Rejmyre Sweden | Master Exhibition, Konstfack, Stockholm Sweden | Squatting Corpus, Munchen Germany 
2008 Exibit 1 (A5), Vita havet, Konstfack Sweden | Brainfood, Gustafsberg, Stockholm Sweden | Talente, Int. Hantwerksmesse, Munich Germany 
2007 Exursions, Munich Germany | Touch Down Vita havet, Stockholm Sweden 
2006 BA Exhibition, Konstfack, Stockholm Sweden

Workshops:
2009 Workshop "BLOOD AND SPERM" Konstfack, Sweden
2007 Workshop 11-14 Feb “FLAGS” Konstfack, Sweden
2006 Workshop 6-11 march "HUNRIG" Konstfack, Sweden
2005 Workshop 7-11 Feb "IDENTITY" Konstfack, Sweden

Affiliations:
A5: Experiments in Contemporary Jewellery
www.afive.se

Platina, Stockholm, Sweden
Charon kransens art, New York, U.S.A