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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Takao Momiyama
Past

Takao Momiyama

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.

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Elsa Chartin
Past

Elsa Chartin

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.

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Book launch Fiberspace 5
Past

Book launch Fiberspace 5

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.

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Annie Johansson
Past

Annie Johansson

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.

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Petter Hellsing
Past

Petter Hellsing

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.

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