[Mummu förlöser en ko. Mammas blick på pappas främmande närvaro med kameran, den frågar varför han fotar, ”Har du aldrig sett en kviga kalva??”.
 Hon är hemtam, nästan kamouflerad i miljön men något i hennes blick skriker. "TA MIG HÄRIFRÅN, låt mig uppleva något annat!" Nej fel, inget i mammas blick, inte i hela hennes väsen, ber om något, någonsin. Men den finns där, önskan.]

Loosely translated:
[Grandma assists a cow in giving birth. Mom's gaze at Dad's strange presence with the camera asks why he's taking pictures, "Have you never seen a heifer calve??". She is at home, almost camouflaged in the environment but something in her eyes screams. "GET ME OUT OF HERE, let me experience something else!” No wrong, nothing in Mom's look, neither in her whole being, asks for anything, ever. But it is there, the desire.]

The exhibition "Perinnösta ja halusta" (loosely translated "Heritage and Desire") portrays a private story about heritage and desire; having the possibility of another life and how this life can be understood in retrospect. It is a series of works that deal with Lisa Juntunen Roos’ interpretation of her mother's relationship to the world she comes from.

With techniques such as weaving and draping, Statira Jazayeri creates sculptural materials and large scale compositions of fabric. Her work moves between the draped as image, sculpture and spatial installation and is rooted in the fold’s potential to express rhythm, tension, direction and balance.

Lilý Erla Adamsdóttir works on the cusp of art, craft and design, creating tufted pieces in Icelandic wool blended with mohair, linen and silk. In deep flow and through a process guided by intuition, Adamsdóttir seeks connection and harmony with the material world. She takes great interest in surfaces, whether it be the surfaces perceived in nature or in humans. Her works contain varying perspectives, fluttering between proximity and distance, the present and eternity, leaving the viewer in an unexpected place. Currents and organic repetitions are prominent themes in this soft exhibition titled "Everchanging Harmony".

IndigoMadder is an exhibition commissioned by the Swedish Weaving Council. Svenska Vävakademin (the Swedish Weaving Academy) was asked to curate a show with contemporary weaving artists. Originally shown at the weaving fair in Halmstad in September 2022, this group exhibition will now be hosted by Fiberspace. The curators, Åsa Pärson and Linnea Blomgren, contacted 14 artists and invited them to four workshops and conversation about the pigments indigo and madder. The artists had to choose which materials they wanted to work with and then let their own practice meet the color scale and the process. The result is very beautiful, poetic and exciting.

Tina Ignell's new books about the textiles at Ellen Key's Strand tell the story of a project where Ellen Key's thoughts on aesthetics and ethics are brought into focus. In a major reconstruction work, textiles have been analysed and a large part have been newly created as new discoveries have been made. Ellen Key's Strand has now regained the color scale and textile framing that existed when Ellen Key decorated her home.

Dear Fiberlovers,
Fiberspace's physical space will be closed all Autumn 2022, opening again in 2023. Watch this space or our social media for more news! Looking forward to more fabulous exhibitions down the line. In the meantime, enjoy our selection of online workshops and webinars!

What does it mean to continue? To carry something on that already has a long history. Alice Lund Textilier has created textile art and interior textiles for private and public environments around the world since 1936. Frida Lindberg has been the artistic director and owner of the studio since 2012. The exhibition at Fiberspace asks questions about continuation. How do we take care of a legacy and at the same time look ahead? How do we use history in a relevant and respectful way?

The Lone Wolf is a Herd Animal

The hollow was apparently ideal for berry picking.
Working on the uphill slope.
"It spares the back", he spoke from personal experience.
We lay side by side in silence among the sprigs.
The pines formed an exquisite wall around us
when the afternoon light threw in its long,
sun-warmed fingers that had just reached in
to the epicenter of lingonberry picking.
Four liters later we reluctantly proceeded home,
with damp trousers that had tasted the moss.

(Translated by Marcia Harvey Isaksson)

This poem is Sanna Haverinen’s sketch that opens to a free creative process. Through her method of writing, a system of hundreds of notes created through a sort of automatic writing, a new way of building images was born. Characters have emerged from the lyrics, all of whom are solitary but at the same time indispensable to each other. Screen printing is Haverinen’s method and the components are used in the same way as when she writes. For several years she has strived to be able to portray her Tornedalian background and culture, in a kind of everyday life in places where it can be far between like-minded people, but where life still passes in harmony with non-conformists.

In her exhibition "SUBGITTER: The underlying structure of reality", Linnea Blomgren presents a group of woven images. She describes her process as follows:

In my practice, the carpet is the starting point for making.
A process that slowly leads me on.
The examination gives me direction and speed, it keeps me moving when I examine the language of the fabric.
Simplicity, repetition, geometry, play and seriousness.

The carpet tells us about place, time and people. About our need for community, spatiality, aesthetics and materiality. "Subgitter" are the underlying structures that create conditions for the common language of the fabric in time and space, layer upon layer.

Moving between traditional craftsmanship and new technology, with inspiration from rugged coastal landscapes and with an interest in the spaces in-between, public spaces, and the places we long for, Mirjam Hemström is a weaver of space. Her exhibition at Fiberspace "The Metamorphosis of Weaving" shows her explorations.

With one foot in textile architecture and the other in yarn architecture, she has investigated macro- and micro-spatial properties in textiles. The project challenges the scale of hand-weaving and gives more power to the designer: designing everything, from the thread (rug rags and rope) to the 3D-weave. By illuminating craft details on a large scale, the course of events leading up to the result can be discerned and the viewer becomes aware of quality and the textile manufacturing process. Hemström wants to, through her work, encourage design for the senses and conversations about the experience of the objects around us.