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During the weaving process it is possible to see only 30cm of the woven tapestry before it rounds a metal beam and disappears out of sight. It is important to work in a continuous flow without major breaks, to avoid jarring shifts. Only after several months of work does the result emerge as a unified whole.

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In spring 2024 my exhibition SLOW was on show in Danish Cultural Center in Art Zone 798 in Beijing. 10 handwoven tapestries and a 17 meter long machinewoven tapestry was installed in the Bauhaus inspired buidlings from the 1950’s. The team at the venue was an incredible force of colaboration and knowledge in our work to create an exhibition which would be a unificatiuon of the grand interiors and monumental woven images.

 

In summer 2024 I installed SLOW in Winland gallery in Hangzhou in Southern China. More tapestries were added and three new prints on Swedish bed cloths was included as a triptych. Like in Beijing working with the gallery crew was a joy.

 

For each woven image the virgin white yarns are dyed in numerous colours and shades to reach the colour spectrum of the sketch. The loom gives the opportunity to work at a high level of detail, with precise colour choices and a tactile presence.

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During the weaving process it is possible to see only 30cm of the woven tapestry before it rounds a metal beam and disappears out of sight. It is important to work in a continuous flow without major breaks, to avoid jarring shifts. Only after several months of work does the result emerge as a unified whole.

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Close up, the images resemble pixellated print. At a distance, the composition condenses and the image becomes sharply defined.

 

The Vegas triptych I made out of old pieces of striped wool fabric which form canvases onto which images from Las Vegas got printed.The fabrics are woven with brightly coloured stripes between natural colours of white, grey or brown. Sewn together edge-to-edge the stripes make syncopated rhythms which creates an impression of depth underneath the added image.