A textile is never one-sided. It has a backside, a materiality and several dimensions. Inside the textile is the construction of bindings that brings one side to the other, locks in place and holds together. The construction itself can be seen as a metaphor for the fact that there is always another side to what we see and perceive. Every thread matters and has the possibility to change the whole construction. Repetitions clarifies and give character; something that could be useful, or alternatively, important to break.

One example of Katarina Brieditis’ point of departure is the knitted stitch that row after row binds itself, like a symbol of eternity. But so fragile. One dropped stitch and everything falls apart. The stitches build a textile where the back is dependent on the front. A two-sided coexistence, a "both-and", different but equally true.

Can one garment save the world?
Easy Piece was born out of fashion frustration, when Runa Juhanisdotter decided to make a pattern of Easy Piece open source and invite people to a creative, experimental collaboration, investigating how fashion could be transformed. Easy Piece is beyond fashion and trends. Inclusive, honest and friendly. Based on one simple pattern that can be tweaked and hacked to boost everybody’s personal preferences, without disrespecting lives and resources on the planet. Processes that unite, not divide, and create meaning and common prosperity.

The braided, knotted or sewn objects on the nets in Elisabeth's art pieces are geometrically constructed, often changing as the light shifts, in reflex bands and fiber optics. One sculptural piece made of spun linen, the motif is an interpretation of South African women's hairstyles and complicated braiding systems. Like many of her "network compositions", it has a three-dimensional effect. Elisabeth lets the stringent form language speak. She is an artist who loves black and white and gives waste material new features and aesthetic appeal. It is important to see the possibilities and the beauty of the little thing!

The project -visual-illusion-confusion- is a collaboration between the artists Ida Pettersson Preutz and Matilda Dominique. In conversations and questions between Ida and Matilda, between threads and fabric pieces, contrasts and patterns, processes are intertwined and form a unit. The common denominator and point of departure is the shadow weave, which they explore together and each in their own way to create new rooms with optical illusions.

In the project, they are examining the potential of shadow fabrics to go from small-scale designs in the home to monumental and architectural. With their work they want to shape the traditional weaving pattern in different scales, techniques and materials in relation to room and body. The visual expression together with the structure and structure of the pattern become important building blocks.

With his pictures, Thomas Magnusson wants to try to reflect the inner and outer world, their expanse and how they can relate to each other. A perambulation between different, strong colours and layers of appendages. The intense yellow, dark blue, red, pink ... Threads. One can see it present but not clearly explained. The passage of time and transformation, the changes of the weather and light, the body of the air.

Volume of pattern
An exhibition is about a play with pattern in the gallery space where Caroline Olsson and Lina Serning strive to maintain the hand-drawn and the hand's creative expression. Their material palette consists of ink and brush patterns that are applied in various ways in the room and to different volumes. The duo, consisting of an interior designer/architect and a scenographer/costume designer, work with body and volume in relation to interior spaces. They have many common points of reference, but different ways of approaching a project. Caroline works with the human body in relation to the rooms that are designed. She also creates furniture that together interact with the room to illustrate the overall interior design concept's story and function. Lina works with the human body in relation to the stage room, creates costumes for the body that together with the room co-operate to illustrate the play's story.

Through Raw Projects, Emma Dahlqvist and Sanna Bodén investigate the possibilities of working with plant pigments for dyeing fabrics in a circular system by refining waste from local restaurants and industries. Everyday, food and waste is thrown away from restaurants, grocery stores and industries. Waste that could in fact serve as resources if, with the help of the design process, they were refined into something new - in this case natural textile dyeing pigments. This pop-up shop, open only during two weekends, showcases unique garments designed by Emma and Sanna, that have been dyed using discarded roses, red onion skins, among other things.

Non-Mythological Creatures
Kristina Skantze is a Stockholm based artist. Through careful and persistent hand stitching she sculpts human-like fabric beings. The seams that shape the body parts are important and appear as lines, scars stretching the skin of cloth. Textile flesh shaped by millions of visible and invisible stitches, subdued pastel silk jersey and polyester padding. Experiences are sewn into the bodies, into the artist’s own bodily memory as well as into the limbs of the figures. Visible but secretive, shaping their individual personalities. Distorted bodies have always fascinated Kristina. In the project Non-Mythological Creatures she is searching for new shapes and expressions through mixing human and animal features. What kind of emotions can be recognised in these creatures? Are they part of our world or do they exist in their own time and space?

Gunilla "Nillan" Holmgren is a colourist and a visual artist who uses both painting and tapestry weaving as her medium. She gets her ideas from nature, the sea and the sky. Observing the shift in colours from light to dark, all year around, Nillan finds inspiration for her unique colour palette.

Before she starts weaving, she first paints a sketch in tempera. Then she hand-dyes wool and linen yarns in a pot, producing many different colours. In the weaving process, Nillan mixes many hundreds of nuances in a single weave, using up to five colours in each yarn thread, changing the colours often so as to achieve the rich and variegated expression she strives for. In this way Nillan manages to capture the abstract and shifting light in nature.

In the project Truncated Icosahedron, the artists Inger Bergström and Lotte Nilsson Välimaa continue their artistic collaboration by with once again investigating a specific place and context through concept and materiality.

The artists' first common experience when embarking on the project was as follows: "We pictured Fiberspace Gallery illuminated a winter evening in the surrounding evening dusk, bright and exposed, bathing in light. An apparently impossible act manifested itself in our heads - the idea of bringing in a monumental construction in the bare room. Like a ship in a bottle. Our thoughts and minds are now busy solving the Gordian knot - where can we find the simple but drastic solution?