I am both disappointed and frustrated not to have received an artists’ working grant (again). It would be fantastic to have the opportunity to live and work as an artist full-time for a year at least once. I thought that I stood a good chance of being successful when I applied this time – I’ve had a couple of notable exhibitions in the last couple of years (or so I thought), and I have a couple of exhibitions and a project presentation coming up in early 2026. My colleagues at the studio were also surprised to hear that I was not successful. It must be becoming rather tedious for them to say they are surprised every year too!
Looking at the successful artists from this county (not that it is awarded by county but one has to start somewhere when reviewing the 401 artists who were successful) I see that they work in ways which are easily, one could almost say traditionally, defined – painting, print-making, socially engaged practice. My work on the other hand is rather tricky to define, sometimes installation, sometimes object/sculpture, sometimes social engaged, sometimes conceptual. My work challenges traditional classification, even if I use ready-mades it is always with specific socio-political intent as well as aesthetic consideration. My work may not be one thing, and at the same time it is not not another thing. It is in essence … I guess … queer. And it seems to make people uncomfortable. That is until they meet me … then things usually go better, then they get it.
Receiving the award has implications far beyond the sudden increase in one’s bank balance. As is all too often the case success creates success – or perhaps I should say recognition creates recognition. Having the award listed on one’s cv certainly seems to be an advantage when applying for other awards, projects, commissions, and residencies. It is obviously a stamp of approval that makes it easier to be approved elsewhere. Such things are particularly important in a country such as Sweden where most want to follow the trend rather than dare to be different.
I feel, and it just a feeling as it is hard to find statistics, that artists educated outside of Sweden have a distinct disadvantage in this Swedish grant system. The majority of artists graduating from a Swedish art institution leave with some kind of stipend or award. It might be financial, material (free studios), or experiential (residencies). This usually allows recent graduates at least six months to one year without having the same economic challenges as artists who do not have access to the same or similar support. Of course this does not guarantee a successful career, it does however create windows of opportunity, it also provides that first important award on their cv.
And everyone knows that it is easier to keep a bolder rolling than to set it off in the first place.
If I do ever receive on of these grants I can pretty much guarantee that I will be filled with a sense of ’about time’ rather than being awash with gratitude.
