In the “Mother’s return” exhibition, Waenerlund challenges the norm of the art glass’s perfect smooth surfaces and position as worshiped objects. The exhibition includes several wall-hanging works in glass, textile and metal where the glass fluid bubbles and creates a rough, abstract opaque structure and two monumental glass sculptures placed directly on the floor. Her last exhibitions in Stockholm were at "Swedish glass art after 2000" at Millesgården in 2016 and "Glass is Tomorrow" at Nationalmuseum in 2015.
"It fascinates me how we look at different aesthetic expressions. How body relates to object and making to performance is recurrent themes in my work. With, and through glass, I seek to explore and challenge the social and cultural hierarchies that influence our judgment. The expectations of objects combined with the contradictions you find in glass as a material, led to the development of a new technique called Burn-Out. This has become the primary technique I work with and the method I use to question the structure that supports the norm of perfect smooth surfaces and adored objects.”
