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?Read more
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.Read more
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.Read more
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.Read more
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.Read more
MORE INFO COMING SOON!Read more
Welcome to Takao Momiyama's solo exhibition "Patch-up Sashiko"! In this body of work, Momiyama has shifted from design to freer work with a focus on the Japanese sewing technique “Sashiko”. The concept of "Mottanai" corresponding roughly to “Waste not, want not” is his main theme, incorporating thoughts about the slow sewing process, the life of the fabrics, patching and repairing and letting it take the time required. His encounter with “Boro" fabrics (rags) mended with “Sashiko” opened up new ways of handling materials and a new creative process for Momiyama. He tries to give new life to the worn fabrics. Takao Momiyama was born in Japan, educated at Konstfack, Textile and works as an artist outside Simrishamn. Disseminating knowledge through exhibitions and workshops has become more and more important for him.Read more
“My studio is my art factory where I work from seven to seven. My art is based on traditional techniques that have been in practical use for thousands of years - but in unorthodox material choices and combinations.”
Irene Agbaje makes embroideries in large formats. She embroiders on silk veils, copper fabric, banana fiber, brass mesh, organza among other things. In addition to embroidery, she weaves using the double-ikat technique in different bindings on brass foil and tapestry on copper warp.Read more
Eva Olanders sews and weaves pictures - focusing mainly on facial expressions reflecting an emotional experience. In this exhibition, "På en skör tråd" (translating to "Hanging on a thread") she will be showing pictures mainly embroidered by hand but also on a sewing machine.
“I portray human fragility - I want to bring the entire emotional register into the light of acceptance. The base fabrics are light and delicate. Thin threads form stitches. My pictures hang like life on a fragile thread. Slowly I work my way into every emotion and I am enveloped. Humbly, I let my hands take control. Each thread forms a stitch that through its shape, color and direction reflects and reinforces the expression."Read more
Elsa Chartin explores the potential for pattern to convey narratives; layering histories, craft traditions and techniques. This project - "Trans-parence/Super-position", examines the reading of three reworked patterns, from the beginning of the 18th, 19th and 20th centuries. Transparency, layers and visual transitions have been sublimated onto among other things, polyester fabric from printing frames.Read more