{"id":5944,"date":"2019-02-18T11:30:04","date_gmt":"2019-02-18T10:30:04","guid":{"rendered":"http:\/\/verket.utvsajt.se\/?post_type=konstverk&p=5944"},"modified":"2026-03-31T13:35:13","modified_gmt":"2026-03-31T11:35:13","slug":"glaskonst-vita-frun","status":"publish","type":"konstverk","link":"https:\/\/verket.se\/en\/konstverk\/glaskonst-vita-frun\/","title":{"rendered":"White Lady"},"content":{"rendered":"

The blacksmiths, dressed in their work attire of white and black, are drawn into a teasing, seductive dance by the White Lady of the forge. Who is she, the legendary female figure who, in the forge's dim light, both attracts and frightens? Does the White Lady always bring a warning of misfortune \u2013 or does she also possess a playful kindness that tricks everyone? Perhaps the blacksmiths know...<\/p>\n\n\n\n

Kjell Engman interprets the life of the forge \u2013 and its era \u2013 in a world of glass art. Captivated by the scene that the cathedral of labor represents, he portrays the dreams \u2013 or nightmares \u2013 of the people whose lives were once intertwined with the iron works.<\/p>\n\n\n\n

The White Lady is the main character. We are not sure where she is \u2013 or if she even exists. The blacksmiths symbolize the workers who kept the forge running, around the clock, year-round. The white-hot iron, which should have been tapped through the bottom of the blast furnace, unexpectedly flows here in golden streams. In a pitch-black corner, ice crystals shimmer, and the aristocracy is gathered at the bar. With lofty elegance, the mill owner \u2013 secretly \u2013 observes it all. Is it all an illusion? The presence of the 1920s is palpable \u2013 with its once-provocative fashion of daring dresses and high-heeled dancing shoes, and with the real blast furnace serving as both backdrop and center. The blast furnace was new in 1915. The spirit of the times, after the Great War, was also new. A subtle undertone of doom emerges \u2013 a premonition of the 1930s\u2019 collapses in the world\u2019s economy and democracy, and of the very first creations of large-scale industrialism.<\/p>\n\n\n\n

\"Humanity always wears a mask. Which one we put on in the moment depends on the context,\" says Kjell Engman. (2006)<\/p>\n\n\n\n

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Smederna, kl\u00e4dda i sin arbetsmundering i vitt och svart, dras med i g\u00e4ckande, f\u00f6rf\u00f6risk dans av hyttans vita fru. Vem \u00e4r hon, den s\u00e4genomspunna kvinnliga gestalten, som i hyttans dunkel b\u00e5de lockar och skr\u00e4mmer? B\u00e4r vita frun alltid varsel om olycka \u2013 eller finns hos henne ocks\u00e5 en v\u00e4nlig lekfullhet som spelar alla ett spratt? Kanske smederna vet . .\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/verket.se\/en\/konstverk\/glaskonst-vita-frun\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Kjell Engman - Vita frun | Verket\" \/>\n<meta property=\"og:description\" content=\"Kjell Engman Permanent konst Verket\/Avesta Art. 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