"Växtkraft. Handkraft. Naturkraft." is an exhibition by Suzanne Grahn Lindquist combining free bobbin lace making and photography. Trying to find and interpret nature's forms is a common thread in Suzanne's pictures, capturing the structures of the large scale as well as the extreme, abstract close-up. The tension lies in discovering that the lines and patterns in a landscape can also be found in the close-up of a flower petal. Each piece is accompanied by a haiku poem.

Carbon Craft is an on-going exploration by Carl Cyrén of knitted carbon fibers meeting molten glass, of control meeting randomness, relocating carbon fibers from the high-tech world of racing cars and aeronautics to the intuitive world of craft. The skill of the glassblowers at the Glass Factory is challenged by the self-willed interaction between air bubbles and stitches: threads that stretch apart and pull together; glass that expands through the spaces in between, bulging to almost bursting point; and glass that is restraint by the tightness of the knitted web. Organic structures take shape, solidifying into glossy sculptures, reflecting the light and the space in the vicinity.

Carl Cyrén, (born 1989 in Sweden) graduated with a master’s degree in design from Konstfack in 2016 and considers himself more an industrial designer than an artist, producing his pieces in collaboration with skilled craftsmen. Fiberspace is pleased to be hosting this, his first solo exhibition. All the pieces are brand new, produced exclusively for this show. Carl has, in addition to working with white and clear glass that he has earlier worked with, experimented with coloured and transparent glass, creating some surprising effects.

Through the work of the hand using textile materials and craft techniques, Ulrika aims to investigate how architecture can be given a textile embodiment, as an alternative to what architecture is generally considered to be. Her ambition is to investigate how the characteristics often associated with textiles, such as narrative storytelling, culture-bearing and tactility can contribute new insights. Can architecture be textile? Can textile be architecture?

Malin Bobeck is a textile designer and artist, 29 years old, based in Stockholm. Her works currently evolve around light emitting textiles, specializing in weaving with optical fibers. In December 2015 she was awarded the “Encouragement of research” from the Sten A Olsson foundation, with the motivation: "For those who are accustomed to thinking of the woven fabric as something quiet and controlled, the encounter with Malin Bobeck’s work will be bewildering. Her textiles careen, sparkle and switch between different moods. They arouse curiosity and invite us to be tactile. In her still young artistic practice, Malin Bobeck aims to create changing spatial structures in which the latest lighting and interactive technology is combined with handicraft. She is part of a broad movement in craft and design that combines traditional methods with contemporary technology, in an inquiring and inclusive way. Her approach rejuvenates the craft and also creates a new and exciting context for the achievements of engineering science."

“The Garden’s Voice” is an installation in 6 parts or variations on the title theme by French artist Karine Jollet. This is also her first Swedish exhibition and we hope the first of many to come. Karine Jollet is a soft-sculpture artist using white fabrics as her favorite medium.

“The Garden’s Voice” is presented for the first time in this format which was specifically conceived for Fiberspace Gallery. The title is taken from a long poem by Haris Metaxa, “Possessed” written in the context of the joint garden poetry and sculpture exhibition called “Bodies of Grace”. The two artists, poet and sculptor, produced and exhibited it for the first time in 2009 in a Parisian garden, nature being one of the muses.

This installation includes the poem itself, depicted in 15 suspended handkershiefs in pearl embroidery (“Possessed”), a suspended human figure capturing the garden’s voice (“Medium”), two suspended feet with roots (“Dance”), a mini-installation of two sculptures combined, one of a tunic with lungs embroidered on it and the other of two feet firmly on the ground (“Embodiment” and “Marcher - Walker”), a reclining woman connected to a flower (“Rêve de Fleur - Flower Power”) and a sculpture of a suspended human ear (“Hearing”).

Maja Svensdotter combines her background in furniture design and cabinet making with her education in spatial design to create sculptural pieces of upholstered furniture. She experiments with patterned fabrics, mainly ticking, cutting through the stripes and patching them back together, letting them meet in other ways than they met in the loom. In this way she composes her own patterns, at times psychedelic, at times subtle offsets. Form and surface are intimately intertwined. For her exhibition at Fiberspace, Maja is producing entirely new work inspired by totem poles and mummified Egyptian cats.

Matthew Cox is an Atlanta-based artist who embraces and joins a variety of media to produce several thematic series of work. Medical x-rays and embroidery, couture and crime, rubber stamps, short -story prose and paint all layer toward a darkly comic and anachronistic impression of the human condition in the twenty-first century. Fragmented Hosts, Matthew's first exhibition in Sweden, will feature both embroidered x-rays and textile-based drawings.

Deepa Panchamia is a textile artist specialising in one-off, handmade architectural and sculptural textiles. Her philosophy is to challenge the conventional perspectives of textiles. Through a synthesis of material exploration and her own experimental techniques, she creates sculptural fabrics that can be moulded, manipulated and transformed – essentially moving textiles away from its traditional two-dimensional form. During Stockholm Art Week, Fiberspace will be hosting a finissage on Thursday 21 April between 17-19.30. Refreshments will be served. Welcome!

Ivano Vitali has been experimenting with recycled paper since the mid-1970's. He has chosen waste paper as the only medium for the realisation of his works for the last 20 years. The balls of thread that he creates represent a continuation of his aesthetic language made up of lines, colours, volumes and concepts. Through techniques such as weaving, knitting, crocheting, and sewing, Ivano manages to draw out the many expressive qualities that paper can produce. Each piece becomes a unique archive, gathering stories, images and advertisements of the past.

Barbara Jansen is a textile designer whose design research aims to explore the interaction between textiles, light, movement and time. She has recently graduated with her PhD thesis, in which she investigates the conceptual and aesthetic development of lighting textile design, exploring interaction between daylight and textile surfaces, and the integration of artificial light into textiles. Thereby the focus of her research is shifting more and more towards the issue of how to compose time, movement and light inside textiles. Her work is driven by a pronounced experimental, practice based design research approach and bridges the use of craft and industrial techniques.