Yngvild Saeter’s tactile, sculpted objects are made using motorcycle parts, metal rivets, chains and pieces of fur. These deeply personal works connect to the artist's involvement in the punk and straight edge movement and a near-death-experience during surgery a couple of years ago. They form strange, highly visual, hybrid shapes that defy categorisation and her shield-like wall objects become a kind of urban altarpieces or coats of arms belonging to various subcultural families.
The objects also contain sculpted parts resembling spines, skeleton parts and ribs. These shapes are like moulded sensations of the artist’s own bones, joints and muscles relating to the artists heightened consciousness of her own body and fragility post-surgery. They also resemble sacred objects, which could have been found in the Sedlec Ossuary or in a set by HR Giger. Yngvild Saeter’s work deal with life and death but also endurance and metamorphosis.
Yngvild Saeter (b. 1986, Norway) graduated from Valand Academy in Gothenburg in 2014. She has also studied social and cultural anthropology as well as political science at the University of Oslo. In 2019, Yngvild Saeter received the Sigvard and Marianne Bernadotte Art Award in Sweden. 
Her work has been presented in solo exhibitions at Norwegian Sculptor's Society, Oslo, Norway (2022); Larrie Gallery, New York, USA (2022); Gether Contemporary, Copenhagen, Denmark (2020); and Møre og Romsdal Kunstsenter, Molde, Norway (2017) to name a few. Likewise, Saeter has been included in group exhibitions at Kunsthall Trondheim, Trondheim, Norway (2023); Göteborgs Konsthall, Gothenburg, Sweden (2022); MISSCHIEFS, Stockholm, Sweden (2020); and Orange Garden x Postmasters Gallery, Rome, Italy (2019). 
Installation shots