• Studio 17, Stavanger 2017 

    Teckning. Objekt. Språk.



    Ledord: Håll, gungfly håll. 


  • Teckningsinstallation

    Associativt ordnat system av stenar, linjer, detaljer från naturen och diverse kontors-relaterat material.

    : gravitation, geologi, sökande, samlande, likhet, symbolik och linjära påhitt för att uppfinna enighet.


    Som ur hål funna principer

  • Bilder från ateljén (teckning+objekt)

    Associativt samspel mellan vetenskapliga och poetiska referensvärldar (teckning+objekt).


    1. Att översätta ett lexikon
    2. Blyertsberg och blyertsstift | Folded Mountain
    3. Textverk
    4. Objekt + språk: Sluten cirkel 
    Cecilia Hultman_5 Cecilia Hultman_4

    Cecilia Hultman_9
    Cecilia Hultman_10Cecilia Hultman_8

    The Longing

  • Teckningsinstallation 2015

    Grupputställning initierad och arrangerad av Konstfack, Konstfrämjandet och ABF Stockholm, i ABF-huset (Stockholm).




    Nicholas Bates

    Fredrik Bjernelind

    Harpa Dögg Kjartansdóttir

    Cecilia Hultman

    Joel Hurlburt

    Anna Ihle

    Vilda Kvist

    Anna Lidberg

    Emil Magnúsarson Borhammar

    Agnes Mohlin

    Gustaf Nygren

    Johan Stenström

    Kolbrún Ýr Einarsdóttir

    Reaching The Known

  • 2014,


    Teckning i installerad form på Galleri Box 2014. 
    Teckning som ett sätt att konkret närma sig andra värden och världar via ett visuellt, konceptuellt och skulpturalt utförande (teckning) och sammanförande (presentation).

    I utställningen möttes bland annat tecknade versioner av cancerbehandlande laserstrålar, månens ytstruktur, linjer använda som perspektivangivelse och linjer som mystiska återkommande detaljer. Utställningen inkluderade även textverk, där föregående gester och urval till viss del synliggjordes.

    I Haven’t Been to Himalaya, and I Can’t Reach the Moon

  • 2014,


    (Konstfacks vårutställning, maj 2014)



    I Haven’t Been to Himalaya and I Can’t Reach the Moon but I know how to difference a 5B from a 2H and I know how to grasp a theory — from a visual and a drawing point of view. I do also know the feeling of reaching and relating through an intimate and precise drawing process and the great importance of being able to conceive poetics through that act. A pencil is for me, a tool for reaching and relating to what I can’t observe without distraction, nor reach in reality. It is also a method where I can put attention to details and preserve what I can’t keep from the library.

    Monday Art Project – intervju

  • Monday Art Project var hos mig på ateljébesök!



    Text och foto:

    Monday Art Project

    /Olga Krzeszowiec Malmsten




  • 2013, Drawings (single corners) drawn in scale 1:1

    Drawings from the exhibition copy/copy 2013, where me and Cape town based artist Matthew Alexander King had our collaborative project together with curator Sally Müller and Heather Jones.

    (The last corner is the only actual corner, taken from my colleague Matthew Alexander King’s text piece “Notes Towards Making Work”, in the show copy/copy, the rest of them were drawn versions. Presented at Atelier 123, Stockholm 2013. Photo: Santiago Mostyn

    Sten i landskap/Stone within landscape

  • 2013 Drawings and stones, 15 x 15 cm

    Drawings and corresponding objects presented like physical sculptures with a indirect scale displacement, within a installation, (Copenhagen 2013, Green is Gold)

    To begin with a Stone and end up with a Planet

  • EXHIBITION in Copenhagen 2013

    “I regularly ask myself if it’s necessary to grasp theory as it originally was meant to be perceived, and if language based descriptions can become equivalent with any other result of reflection and sensemaking visual expression. Right now I have found the geology term Mass Movement, as a frame for me in this process. This is a good example for how I often work with some kind of facts, in this case a term from geology and geomorphology (the scientific study of landforms and the process that shapes them) where the use of it can become a theme for the visualized outcome. I like when reality gets potential to refer to more than one thing, and I like when things can turn out to be both precise and universal at the same time. Both beautiful, reality related and conceptual in the way the ideas has been realized into a piece of work. ”