The blacksmiths, dressed in their white and black work base, are drawn in elusive, seductive dance by the cab's white wife. Who is she, the legendary female figure, who in the darkness of the cabin both attracts and scares? Should white wife always be alerted to an accident - or is there also a friendly playfulness with her that plays all of a kind? Maybe the smiths know. .
Kjell Engman interprets the cottage's life - and its time - in a world of glass art. The grasp of the scene of the Cathedral of Work, he portrays dreams - or nightmares - of the people who once had their lives connected with the ironwork.
White wife is the main character. We don't know where she is - if she exists. The blacksmiths symbolize the workers, who kept the cottage and martin works in operation 24 hours a day, all year round. The white-glowing iron, which should be dropped out through the bottom of the blast furnace, flows here surprisingly into golden currents. In a cave-dark corner, ice crystals shimmer and the men of glory are seen gathered at their bar. With a high degree of elegance, the user cartridge - in the stealth - monitors it all. Is everything a vision error?
The presence of the 1920s is evident - with its then-challenging fashion in bold dresses and high-heeled dance shoes and with the real blast furnace that forms both the fund and the center. The blast furnace was new in 1915. The tidal spirit, after the Great World War, was also new. An undertone of doom penetrates - a premonition of the 1930s breakdowns on the world economy and democracy and on the very first creations of large-scale industrialism.
-Människan bär alltid en mask. Vilken vi för stunden sätter på, beror på sammanhanget, säger Kjell Engman. (2006)
