This article was written by Crispin Ahlström and published in Göteborgsposten. Translated by Fern Scott, 2024.
At the Gothenburg Tercentennial Jubilee Exposition in 1923, a young silversmith from Lund made his debut under the company name A. Nilsson. On that occasion, his creations received negative critique, which contrasted with the praise showered upon Erik Flemming and his silver. However, Wiwen Nilsson, operating under the guise of A. Nilsson, returned to grace two years later when he was awarded a gold medal at the World Exhibition in Paris. This triumph marked his definitive international breakthrough.
Wiwen Nilsson and Erik Flemming became the two people who, each in their own unique way, revolutionised the Swedish art of silver during the 20th century. While Flemming adhered closely to tradition with his classical style, Wiwen Nilsson set his own path, with all his creative endeavors being guided by three fundamental principles: material, technique, and dynamism. He is currently in the spotlight with a major exhibition at Kulturen in Lund. The exhibition, honouring his 70th birthday, has been presented to him as a gift by friends and organisations from all over Sweden. It is a remarkable testament to a lifetime of extraordinary craftsmanship and of extraordinary achievements. Wiwen Nilsson's consistent creation, spanning from 1923 to the present day, is showcased in a broad and comprehensive presentation.
However, it is precisely this consistent creative output for over nearly half a century that has prompted some to question as to whether his artistic visual language has become stagnant. The younger generation's relentless pursuit of originality in creations, have challenged his steadfast belief in himself and his principles. Nils Gösta Sandblad, once called Wiwen Nilsson "the steadfast silver soldier" - an epithet the artist undoubtedly wears with pride, viewing it as a title of honour and a testament to the success of his life's work.
The entire exhibition is proof that even within the confines of his principles, he has been consistently innovative. Perhaps the most compelling proof lies in his unveiling of a new jewellery collection for this exhibition, featuring unique brooches adorned with motifs inspired by the starry sky, rendered in his signature planar relief style. These pieces encapsulate much of his artistic essence; the meticulous technical craftsmanship, the reverence for the intrinsic value of the materials (in this case, gold), and the bold geometric dynamism. The seamless integration of these elements yields objects of profound artistic merit, where form is in harmony with function, be it in his sacred art or secular creations. Wiwen Nilsson attained significant acclaim for functionalism at the breakthrough 1930 Stockholm Exhibition. Many viewed his "edgy" creations as the immediate equivalent in the realm of arts and crafts to the functionalist principles dominating architecture at the time. However, this comparison is somewhat flawed, as in architecture, it was the function that would create the object, whereas for Wiwen Nilsson, the function should be an integral part of the whole. This fundamental aspect of his philosophy is evident throughout his entire body of work, but perhaps most prominently showcased in his silver cutlery. Here the function of, for example, the absolutely balanced knife is united with the inherent beauty of the material and the dynamic tension of the geometry.
In his sacred art, which graces over a hundred churches throughout Sweden, the function also has an important role in the design. But to this is then added the meticulous study of religious texts and customs associated with the various objects. As in numerous other aspects of silversmithing, Wiwen Nilsson's innovation extends beyond mere form. Several years ago, he created a type of communion chalice that in recent months has sparked lively discussions within church circles. Drawing inspiration from a biblical word, he was guided by the essential hygienic requirements often placed on communion vessels.
Coming to the exhibition is like walking into a fairy-tale treasure chest - all the objects there attract the eye. It is therefore unfeasible to use any one piece as a description of the body of work on display. However in conclusion, allow me to mention a cross that is usually placed on the high altar in the Lund Cathedral. It has been made in Romanesque style, inspired by works from the 12th century, and the frame is made of solid, almost black, Colombian mahogany. Flat reliefs in various silver alloys have then been added to it. On the arms of the cross one finds the four evangelists, and Christ Pantokrator (Christ Almighty) is enthroned in the fold of the arms of the cross. The cross is entirely congenial with the Romanesque Cathedral, without any hint of being a mere imitation or a pastiche of any kind.
Here, more so than anywhere else, one can see where Wiwen Nilsson maintains contact with tradition and with philosophy; it is in the pre-Christian, the Roman and East Roman visual world that he found inspiration. This is where he has found the absolute dynamism, the divine geometry, and at the same time, the incorruptible respect for the material.
