Textiles 2018 - 2020

Untitled (Still Life)
Untitled (Still Life)

Felt and dried peace lillies 90 x 100 cm 2018

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Untitled (Grow, create, medicate)
Untitled (Grow, create, medicate)

Felt, chestnuts, Cyklokapron, crayons 100 x 90 cm 2018

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Untitled (Endnote)
Untitled (Endnote)

Block printing on felt 90 x 100 cm 2020

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Untitled (Still Life)
Untitled (Still Life)

Felt and dried peace lillies 90 x 100 cm 2018

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The textile works from 2018 to 2020 are collected from different experiments, residencies and commissions. They represent in many ways a further developing of a textile language, where the objects ar exchanged for shapes and textures, a development of skill, but also, and to this day a free experimentation into techniques, materials, and themes.

Image 1 - 5: A continuation of the object series, where i began to include new techniques such as patch-work and new ways of mounting the works using loops of yarn to create a more free floating impression when mounted

Image 6 - 9: Commissioned work, and bought by the Museum of Longing and Failure, 

The Museum of Longing and Failure (MOLAF) is a collecting entity with a focus on small-scale object-based works. The MOLAF takes shape through a sustained conversation with living artists and collectives, whose contributed sculptures form the basis of exhibitions, interventions, publications, and the production of new objects by the MOLAF itself. Exploring a fluidity between institution, artwork, and author, the MOLAF strives to continually interrogate its own structure, identity, and capacity to both support its collection and generate new working methodologies.

Established and facilitated by Andrew Taggart + Chloe Lewis.

MOLAF

Image 9 - 15: Two works from my two week residency and workshop at Haystack Mountain School of Craft

In the spring of 2019 I was lucky enough to be awarded a stay at Haystack Mountain School of Craft through the support of The American-Scandinavian Foundation and Nor- wegian Crafts. Through this amazing opportunity I could attend the 2nd Fiber Session at Haystack with premiere artist Jim Drain assisted by the amazing Joseph Segal in a thrift- ing bonanza of everything is possible and thankfulness for where you are and how you got there.
Through mountains of beads, fabric dragged from all corners of the world, ob- jects and pieces created out of nothing on cardboards on looms on ceiling and cellars, there were no idle hands in the fiber studio during our two weeks. And yes, our hands, us, because I was far from alone in the fiber studio. Together with eleven other artists and makers I was able to share, and be shard with, all that can be accumulated of knowledge, from fabric and techniques to who in the studio actually knew the menu items at Dolly- wood and the rap portion of TLC’s Waterfalls. In short; the companionship, friendship, and sharing that was within the group—facilitated by Jim and Joseph—made the whole experience at Haystack one of inclusion, sharing, and supportive nonsense and serious- ness.

Haystack Mountain School of Craft

Image 16: One of many works made during my two moth residency at Air Green. Søndre Green gård is owned and operated by Norwegian textile artist Kristin Lindberg, and is situated next to the lake Krøderfjorden in the municipality of Krødsherad in Norway. The residency is made possible through the collaboration between the association of Norwegian Textile artists and Kristin Lindberg. I was so lucky to share this amazing experience with three amazing fiber artists' Hilde Frantzen, Anne Karin Jortveit and Marit Dyre Tunestveit

Air Green