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.

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.

“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.

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."

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.

Fiberspace turned 5! To celebrate we have published a brand new book that will, aside from highlighting some the wonderful artists, artisans and designers that have exhibited in the gallery and their artistic oeuvres, also include brand new essays by leading figures within the textile field: Jessica Hemmings, Textile Writer & Professor of Craft and Vice-Prefect of Research HDK, Bella Rune, Artist & Professor of Fine Art, Textiles, Konstfack, Åsa Pärson, Master Weaver and Delia Dumitrescu, Professor & Manager of the Smart Textiles Design Lab, Borås Textilhögskolan. The book has been published with contributions from Stiftelsen Längmanska Kulturfonden and Estrid Ericsons Stiftelse.

Emma Göransson explores human relationships to natural and cultural landscapes over time. Through installations, interventions and objects, she reflects on philosophical ecology and living conditions for people, animals and plants, often from Sámi perspectives. Her art has a strong sense of materiality, with references to traditional textile crafts, archeology and architecture. Experiences of spatiality are always in focus, whether it is a large-scale critique of our current civilisation from a power perspective or quiet reflections on the psyche and natural landscape.

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.

In the exhibition "Hugs Your Body's Contours and Gets Even Softer and More Fitting With Each Use", Annie Johansson has investigated the extensions of the human body into the textile material through sensual desires. This boundless desire is for her about a lust that goes via and then beyond the desire for other bodies. Like the Begin-nuns* almost erotic relationship to their natural environment, she searches for it in her material explorations.

For his exhibition at Fiberspace, Petter Hellsing puts materials in focus and is looking for ways to let them speak based on their own premises. What can a conversation between man and material look like? The tool here becomes a transitional object, a tool that extends the body to the world and puts it in relation to other forces. The bodily action and the resistance in the material is crucial to reaching an understanding beyond the power of thought.

As Hellsing sees it, something has happened in the world and we are facing a renewed relationship to materials. It is no longer possible to regard the world around us as inanimate matter. Perhaps things have their own agenda. In any case, we can not ignore the ecological consequences of our lack of attentiveness. An honest encounter with materials awakens deep physical memories in most of us. A hand in sheep's wool, the weight of a stone or a knife's blade carving into wood, all bear the promise of creation that makes us greater as human beings. The making of an object is not just a relational human act, but the work of the hand is also an inward dialogue, between the maker, the viewer and the material.