Lilý Erla Adamsdóttir
Upcoming

Lilý Erla Adamsdóttir

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".

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Statira Jazayeri
Upcoming

Statira Jazayeri

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. Jazayeri has studied fashion design and draping (ESMOD Oslo), textile design (Swedish School of Textiles) and textile art (HDK-Valand) and it has in various ways been crucial for the sculptural direction she continuously explores regardless of the material she works with. She is fascinated by the obvious opposites in a draped fabric; surface and depth, light and dark, valleys and peaks, undulating paths and straight distances as well as variations in intensity between folds. She is looking for answers to what different compositions can represent and what feelings they can evoke.

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IndigoMadder
Past

IndigoMadder

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.

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Textiles at Ellen Key's Strand
Past

Textiles at Ellen Key's Strand

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. Ellen Key was one of the most important social changers during the turn of the last century. Her network of contacts, both within Sweden and internationally, was extensive. She wrote several influential books, including ‘Skönhet för alla’ (Beauty for All) and ’Barnets århundrade’ (The Century of the Child); books that would impact the development of society right up to the present day. At her home, Strand, these connections to her thoughts on beauty are very clearly visible to everyone.

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Sanna Haverinen
Past

Sanna Haverinen

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.

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Linnea Blomgren
Past

Linnea Blomgren

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.

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Mirjam Hemström
Past

Mirjam Hemström

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.

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Anna Nordström
Past

Anna Nordström

In her work, Anna Nordström utilises a wide range of textile techniques, mainly patchwork, quilting and embroidery. The traditional ways of creating are adapted to manifest thoughts on work, labour, status, value and (lack of) professionalism. Nordströms signature technique is a pixel patchworking that she developed during her education at Konstfack 2007-12.

Nordström exposes social, commercial and political structures in contemporary popular culture by merging worlds of sensitivity and mass production. What new messages are generated when funerary inscriptions from 600 B.C. are mixed with the contemporary language of skin care copy and commercial slogans? Are we talking about women or lotions? It is a method of looking back several thousand years in an attempt to see one self slightly more clearly.

Working with textile as Nordströms main material her works are in direct contrast to the images of corporate logos, advertisements and self-help books which function as the artistic starting point of her practice. Her humorous aesthetic accentuates the irony in which she treats her work and preserves the unpredictability and improvisation between work and viewer.

The expression of the materials play an important part and are chosen based on specific qualities and connotations. Often purchased on sale, often saying something about femininity.

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