When Emelie Röndahl started with rya weaving as her main practice, she did it based on a kind of visual desire. She was drawn to states like hairy strategies, broken or crying pixels and glitches, images that do not hold together, and that do not sit well. She saw a potential in the rya technique to fulfill these desires.
Digital pixels are grateful models for woven pixels. They are easily transferred visually through their common square shape. At the front, the rya knot hangs out freely with the two open ends. This is what she usually call her crying pixel. This term points out something about the narratives in Röndahl’s woven images, where sorrow, sadness and the relationship to the digital and the more insensitive are brought together.Read more