Textile Relief painting

2024/25

4 part panel with “frozen” textile and gouache. These works are about transforming one material into another - the soft textile material gets to mimic ceramics or stones. And close up you then see all the soft qualities. The work is like a map - of the road to new places. A turmoiled journey from one city to the another, from one life to another. It is about growth and possibilities. There are references to classic tapestry with its borders and ornaments. I have moved close to the castle Kronborg, the home of Hamlet in Elsinore, and here I have found inspiration in the Kings Carpets and the classic plays of Shakespeare.

To be or not to be… textile. 

2025

The tapestry wall hanging is 147 x 147 cm.

Cotton, plant dyed by hand with embroidery and textile collage. Mounted as a classic tapestry on the wall on wood. The motif of the work, “WETLAND” is that of a forrest logging close to Hanne G’s studio in Denmark. The trees have brutally been torn down, leaving naked, half high stems and solitude trees standing very exposed. It is a place of change but the projects aims to restore a wetland area that once existed here. So for a while it will look like a war zone in the preparation to be untouched nature in time…

You also find a person in the scenery - appearing to be somehow lost or in search. We humans also need to change in order to survive. We too are nature. And the transformation process can eventually require big upheavals.

2021-23

I use textiles as medium and the tree trunk imprints are made using and adapting an old archaeological method I learned at the academy of arts and later used in field trips in Italy and Greece.

I also call it Tree-D_Printing.

Photo: Dorte Krogh

2023

6 pieces H: 180 cm B: 33-60 cm. D: 7-9 cm

Materials: Recycled cardboard, polyester fibers, raw wool, sand, pastels, acrylics and varnish.

Photo: Dorte Krogh

2023

H: 80 cm. x B: 40 cm.

Materials: Wooden stretcher, cotton canvas, polyester fibers, acrylics and glue.

I received a photo from my Norwegian friend and fellow textile artist, Astrid - she sent me an angel - via Messenger… it became the inspiration for this work. Divine in a sense…

Photo: Dorte Krogh

2023

H: 50 cm. B: 420 cm.

Materials: Wooden stretcher, cotton canvas, polyester fibers, acrylics and glue.

Photo: Dorte Krogh

2023

5 pieces H: 110 cm B: 12-60 cm. D: 7 cm

Materials: Recycled cardboard, polyester fibers, raw, felted wool, sand, pastels, acrylics and varnish.

Photo: Dorte Krogh

2023

10 pieces H: 120 cm B: 75 cm. D: 5-7 cm

Materials: Recycled cardboard, polyester fibers, raw, felted wool, sand, pastels, acrylics and varnish.

A celebratory shout out for relating and engaging with others. Art has the potential of nurturing our connections to one another. Art can touch you and people -in fact always want to touch my art.... they will try to figure out if it’s soft or hard, how it is made. Textile in any shape or form is calling for contact and this piece, with its candy-like colours and playful installation, will draw you in from a distance, wondering what it will look and feel like up close - the magic of tactile attraction. I like to play with the contracts of soft and hard. The sculptors of antiquity aimed to softens the hard stones, while I, on the contrary, aim to make my soft materials look like stones - experienced from a distance - and reveals itself closer up and this sensation is a key to the work. Engagement!

Photo: Dorte Krogh

2022

2 pieces approx. 85 x 85 cm each

Materials: Wood, polyester fibers, wool, acrylics.

Photo: Dorte Krogh

Do You Read Me

2022

Like a graffiti artists "piece" this work uses a bold, handmade typeface. It is made without permission and hopefully soon within public view. The work has this stone like look but appears to be primarily textile when examined up close. The classic question "Do you read me" - is never easy for an artist. You can never know if the viewer gets what you are saying or trying to convey... It is the conundrum that you are communicating from the deepest source of yourself, creating a "tag" that´s may be strange, hard to interpretate and even ugly... but also maybe only gives meaning to yourself.

Træ, pladevat, akrylfarve, molding paste og ren uld med pigmenter og lak.

CAVE IN - en udstillingsevent, som blev afholdt fredag den 16.09.22 på udstillingsstedet, Kolbotn Garasje Galleri i Norge. Udstillingsstedet var den perfekte ramme for dette multimedie projekt. Et enkelt, råt rum, hvor jeg gennem de forskellige medier kunne lege med spørgsmålet: Hvilken rolle spiller lyd og lys for oplevelsen og dannelsen af et sted - kan rum og objekter "tale"?

CAVE IN består af gulv- til loftskulpturer i form af florlette, gennemsigtige og svævende søjler. Disse, abstrakt suggestive, tekstile skulpturer bliver "levende" i lysprojektionerne og fremstår som "lodrette soundwaves", der drager dig ind i forskellige sindsstemninger - hjulpet af Mads Nordheims originale og vidunderlige ambient toner. Mads trækker på sin fader, klangkunstneren, Arne Nordheims arkivmateriale i skabelsen af dette værk. Lyden er uadskillelig fra den fysiske tilstedeværelse og den åbner op for flere betydningslag og udstrækker det skulpturelle værk i tid. Lys-projektionerne er udformet i samarbejde med Lars Nicolai Grønlund, som med små video-projektorer skaber magiske og avancerede visuelle mapping-oplevelser, der arbejder sammen med form og lydside. Både silkeobjekterne, rummet og de besøgende selv belyses. Ved at vise video på disse former, skabes en bevægende oplevelse af lys og bevægelse. Oplevelsen vil drage allerede ved første indkik udefra og man inviteres videre og længere ind, til man "overgiver sig" og er blevet en del af universet.

Et samarbejde med Lars Nicolai Grønlund og Mads Nordheim

Selected Works by Veera Kulju, Marianne Huotari and Hanne G.

June 24 – August 19, 2022

HB381 Gallery

381 Broadway

New York, NY 10013

info@hb381gallery.com

Photos: Alexandra Rowley

https://www.hb381gallery.com/artists/hanne-g#tab:thumbnails

2021

Biology and ecology has revealed that all living things, including humans, depend upon each other, and are interconnected through natural cycles and ecological systems. It is called interdependence. All species rely on other species in some way in order to survive.

My work "BIOCENTRIC" is about the concerns that are oriented towards protecting non-human organisms and nature as a whole, not narrowly aimed at preserving the welfare of humans.

My motive, the two parts of BIOCENTRIC, mimes a yin yang figure: Yin, the passive, negative force and the Yang, the active, positive force in nature and everything in the world. The singular forms here being two extremely upscale orchid pollen.

We must create a holistic and ecological view of the world. It makes people conscious of stopping further degradation and deterioration of nature and its resources. When we are reluctant to recognize humanitys part in ecosystems our passiveness and silence becomes complicity in the worldwide ecological breakdown.

MATTER AT HAND: TEN ARTISTS IN DENMARK

October 28 - December 9, 2021

Exhibition photos: Joe Kramm

An exhibition of new work by ten contemporary Danish artists, to be held at the gallery’s New York location.

Work by Stine Bidstrup, Anne Brandhøj, Yuki Ferdinandsen, Bjørn Friborg, Hanne G, Jakob Jørgensen, Martin Bodilsen Kaldahl, Astrid Krogh, Pernille Pontoppidan Pedersen, and Maria Sparre-Petersen.

The show will run from October 28th - December 9th, with an opening reception on Thursday, October 28th from 6-8 pm, and will travel to Hostler Burrows Los Angeles in the spring of 2022.

The artists of Matter at Hand have centered investigation into material at the core of their process, and share a humanistic approach that engenders an intensity for their craft against all odds.

The exhibition is accompanied by a 140 page catalog which features studio and process photographs alongside biographies of the ten artists. In his essay for the catalog, “To Will One Thing,” Glenn Adamson writes, “... yet these objects do exemplify a philosophy: a way of being in the world. Whether clay or wood, metal or glass, each represents the direct engagement between a living, thinking person and the obdurate, external, and uncaring domain of materiality. The very fact of the objects’ excellence attests to the absolute commitment that was brought to these encounters.”

Photo: Peter Markersen

“The Frieze” is a commissioned art interior decoration. Made specifically for one of the dining rooms in Castel Hörtenberg by me. Installed november 2020.

The Frieze consists of 46 panels - ‘frozen’ textile on canvas - a simple, elongated piece that ties the room together for a classic and yet contemporary feel. The motives inspired by both the antiquity’s marble reliefs as well as natural movement in sand and water.

Castel Hörtenberg is a luxury hotel in an old Renaissance castle in the heart of Bolzano/Bozen, Italy. At the foot of the Dolomites.

I study the hidden colours, patterns and messages from nature and use my surroundings as workspace and medium to create a “juice” for my textile images.

This work is an experiment with natural dyeing as a sort of controlled, random painting and it reflects on the passage of time and observes a climate change in both a poetic and literal sense.

The LIGHTHOPE art project aims to create community, creativity and hope in the corona era, where we must stay home and miss our daily communities. Designer Rasmus Bækkel Fex and textile artist Hanne G have designed the concept for the artwork LIGHTHOPE, which will be created during the crisis period by citizens from all over the country who are interested in crocheting. Citizens from all over the country were invited to join the LIGHTHOPE community by crocheting an object in bright yellow, beige and white hues with the shape of a light bulb. The light bulb symbolizes light in it a challenging time and hope for the future. On the project's Facebook page, the participants were invited to reflect on and share thoughts about the positive, which after all may emerge from a crisis like this and Hanne G was in dialogue regarding the crocheting. Joint seminars were held over Zoom, as well as establishing virtual crochet clubs. Textile artist Hanne G has created the concept for the crocheted objects and designed a crochet guide. The structure, which carries the crocheted contributions to LIGHTHOPE, was designed by designer Rasmus Bækkel Fex, a wooden structure in Trapholt's 50 meter long, central course down the entire museum. The crocheted contributions were installed n the museum during the closing period and the development of LIGHTHOPE could be followed on social media along the way. Tøhe gigantic art installation was completed on May 30, when Trapholt could reopen - as a manifestation of hope for the future despite both human and economic crisis. Curator of the project, museum director Karen Grøn says: “Art and culture can contribute to a time of crisis which we are experiencing now. Most people are used to meeting and socializing. In the corona era one can feel isolated and of meaningful communities. Not everyone can work from home, so many have lost daily contact with colleagues, work purposes and social circles. Elderly people cannot visit family etc. LIGHTHOPE aims to create a platform where citizens can meet, share and communicate with each other."

Links: https://trapholt.dk/lighthope/

https://www.facebook.com/groups/1241074206076308

Photocredit: Blume Press, Christina Duelund Bredahl og Hans-Christian Bach

2019

I study the hidden colours, patterns and messages from nature and use my surroundings as workspace and medium to create a “juice” for the large, textile canvases. This work is an experiment with natural dyeing as a sort of controlled, random painting and it reflects on the passage of time and observes climate in both a poetic and literal sense.

Measures: H: 210 cm x L: 670 cm. Materials: Oak, walnut, cherry, apple, blackberry, carob and iron on linen/cotton.

Mounted directly on the wall with velcro tape.

2019

H: ca. 200 cm. Paper, cotton thread and acrylic paint.

I scan the memory barcode system visually and get access to specific memories in my brain - I make it possible for others to either connect to mine or get access to their own…

I present a poetic and timeless fantasy of a memory-storing-cage, where desire is the memory of pleasure and fear is the memory of pain. Both make the mind restless. How can one be happy?

“Splinter Group” was my contribution to the 16th International Trienniale of Textile Art in Lodz, Poland 2019.

5th October - 15 March 2020. Curator: Marta Kowalewska.

2019

“Closer” is a wall puzzle of 10 textile panels. In a “heliotropic” way it illustrates new, generated urban connections and shows the abstraction of a sustainable city that feeds itself with minimal reliance on the surroundings. Urban life can be made sustainable in almost every way because people and resources are close together.

A sustainable city is designed with the consideration of 3 basics: Social – Economic – Environmental impact, here exemplified by the use of 3 ground colours.

2019

SPLINTER GROUP is an installation of 5 hanging objects forming a “meeting/gathering”. SPLINTER GROUP generally means “a small organisation that has broken away from a larger one”. In this context I want the group to signify the possibilities of independency, freedom and new ways as well as an underlying expression of loneliness…

The installation is arranged with references to the Japanese Zen garden traditions; the intention is to evoke calm and ‘emptiness’ through abstraction, a place of meditation. But also a place that mirrors the psychological homelessness of people in the modern world.

I am fascinated by the tactility of the textile medium; through my work with the material, I aim to achieve a sense of contrast – soft/hard, culture/nature, construction/deconstruction.

Materials: Mohair, polyester fill and batting, acrylic paint and adhesive.

Measures: 200 – 270 cm. length and dia from 4 – 14 cm.

A crypto currency is a digital active/payment method, which uses cryptography to secure transactions. Bitcoin was invented in 2009, and since then more than 1500 crypto currencies have emerged.

I have visualized this virtual currency-form and created a series of alt coins, which refers to the artists role as a value driver and the impalpable in the new monetary world.

The art world has become a financial market and the values are maintained by control and the securing of the individual artist and her trademark. The idea of the unique piece of art as the ultimate form of product/good has inspired me to make this piece. The units are made from exclusive taffeta and spray painted in golden shades. Light, airy, genuine H-G-Coins.

C.O.S - Chapel of Solitude

is an experimental sculptural installation of 7 anthropomorphic, textile pillars that are treated to achieve a stone- or clay-like surface. The group engages in a directionless formation on/over the floor – reaching at least 4 meters up, hanging from the ceiling.

The visual expression of the installation refers to the structures of underground geological caves, medieval clerical architecture, Superman’s post-apocalyptic sanctum sanctorum, poster beds and balustrades on stair cases. Reaching up towards the sky or down as you like/wish. Only one pillar is touching the floor – the others are hanging in various proximity to the ground.

On the ground I make a sand/gravel bed to suggest water. The installation are arranged with references to the Japanese Zen garden tradition with the intention to evoke emptiness through abstraction. A place of meditation.

Here C.O.S. is part of the group exhibition “Ree-fleks” in Kunstpakhuset, Ikast 2018.

CHART ART FAIR, the leading Nordic contemporary art fair, returned to The Royal Danish Academy of Fine Arts Kunsthal Charlottenborg in Copenhagen from 1 – 3 September 2017. The 5th edition of CHART brought an expanded network of the most prominent Nordic art galleries accompanied by a bespoke programme of talks, events and architectural installations. I was invited to exhibit in the main hall of Charlottenborg Kunsthal as part of the curated CHART Design-programme entitled WHAT IT IS, WHEN IT IS NOT. 

Read more about Chart Art Fair: https://chartartfair.com/art-fair/

‘En sten, to skyer, tre bomber’. Det er en titel, der tilsyneladende beskriver Hanne G og Juan Heins midlertidige, men stedspecifikke, installation i Sæby Kirke helt præcist: Hanne G’s store sten står foran alteret, mens Juan Heins fotografier af fem forskellige skyformationer for en tid overskygger kirkens permanente udsmykning. Men det kan altid betale sig at se lidt bedre efter, ikke mindst når det kommer til møder med kunsten. Alt er nemlig langt fra, som det ser ud ved første øjekast. Heller ikke her i Sæby Kirke, hvor stenen viser sig ikke at veje særlig meget, og det er svært at afgøre, hvilke fotografier, der fore- stiller skyer, og hvilke der er resultatet af bombesprængninger. Som al god kunst stiller Hanne G og Juan Heins værker nemlig flere spørgsmål, end de giver svar samtidig med, at kunsten viser os, at tvivlen slet ikke er så farlig, som vi nogle gange går og forestiller os. For tvivl er ikke nødvendigvis det modsatte af tro. Den kan derimod være et skridt på vejen mod troen - eller dennes tro følgesvend. Både Hanne G og Juan Hein benytter sig af papiret og fotografier som materiale, og begge gør det på en måde, der først får os til at tænke ét (“det er en sten”, “det er en atombombesky”) for derefter at vise os, at sådan er det måske slet ikke alligevel. Værkerne giver os således mulighed for at se på det, vi troede, vi vidste, hvad var, på en ny måde. De åbner vores sind og beviser, at der er mange mulige synsvinkler, både bogstaveligt og i overført betydning. Ligesom i det spirituelle rum, skaber god kunst en ramme for eftertanke, refleksion og følelser, der går dybere, end vi oftest er vant til. En sådan oplevelse kan være sublim, forstået som den blanding af skræk og overvældende skønhed, man kan opleve i mødet med voldsomme (natur)kræfter i livet, eller når man pludselig har ro og koncentration nok til for alvor at stille sig selv store spørgsmål som: Hvem er jeg? Hvad er meningen med det hele? Og hvordan forholder jeg mig til det? Hanne G og Juan Hein har således skabt et nyt rum i rummet, både fysisk og mentalt. Brug det og velkommen! Trine Ross, kunstkritiker

Photo credit: Juan Hein / www.juanhein.com

Photo credit: 2017 © MINDCRAFT / jeppegudmundsen.com

Time: 05:59:59 — 06:59:59

The installation explores the sculptural and aesthetic potentials of textile in a ‘frozen’ form combined with a musical composition principle driven by repetitive, random patterns. This interactive audiovisual installation engages its audience directly. Built-in sensors detect movement and activate an audio element, producing a ‘song’ that is triggered and shaped by human curiosity, as people approach, move away from and walk around the sculptures.

With inspiration from morning yoga practice, the physical form suggests the Sun Salutation, while the audio is reminiscent of chanting. The sound resonates within and between the two textile objects, forming a duet that encourages pause, reflection and meditation in a multisensory experience that seeks to transform seeing and hearing into breathing, as different senses blend, merge and interact.

The audio element is created in a collaboration with composer and producer Jesper Ranum.


Material
wool yarn, cotton batting, polyester stuffing, EPS foam, powder adhesive, acrylic paint, audio

Dimensions
No. 1: H 187 cm, Ø 60 cm
No. 2: H 137 cm, Ø 75 cm

EXO_w EXO_y EXO_g shown at the miniTEX exhibitions 2017. Danish Tekstillaugs Textile Triennale. Exhibitions in Kolding and Copenhagen. 

http://www.dansktekstillaug.dk/minitex-minitex17

A small ensemble of objects, crocheted, stiffened and coloured. Containers of future sound. A choir that will ressonate the universal sound in the universe. Sonicly you will be invited into the object and the idea is to make a small sculpture-garden where one can enter and maybe feel the cosmic connection body and mind.

Here at The Spring Exhibition 2016 at Charlottenborg, Copenhagen.

March 2016.

Artist-in-residency at The Icelandic Textile Center / Textilsetur Islands in the North of Iceland. Including an exhibition in the associated gallery. Photos: Mike Seehagel + Cornelia Theimer Gardella

This is a small sculpture I made years ago in my studio in Denmark. 
Earlier this year I was going to the northern Iceland by bus from Reykjavik -we soon passed whole fields of lava-formations looking excactly like it. I was surprised and then reassured.
Iceland has a way of restoring your faith.

2014

Crocheted mohair, acrylic gel and spray paint

H: 110 cm Dia: 40 cm.

2014

Crochet. Mohair wool, acrylic gel and spray paint.

Mask made of masks – crocheting form is simple actions governed by very simple equations – by putting these together suddenly complexity emerges. Patterns evolve as a natural consequence. My work mimic intricate natural forms from the plant and animal kingdoms. 

Hello Buddha is my contribution to the KONTEMPO exhibition "Is This Textile?" 25-28 maj 2016. Part of the event 3DAYSOFDESIGN in Copenhagen.

KONTEMPO is an association that works to promote the textile field in a contemporary context. KONTEMPO consist of Danish-based practitioners within the textile field. see more: http://3daysofdesign.dk/?companies=kontempo and http://www.kontempo.dk/

2014

Acrylic and spray paint on crocheted mohair

Approx. 50 x 35 cm

2015

170 x 130 cm.

Acrylic and spray paint on Flokati rug

Front: 52% acrylic, 33% modacrylic, 15% polyester. Back: 100% cotton.

Imago Mundi - Established by Benetton Foundation.

The danish collection is curated by Sophus Gether.

My contribution: 10 x 12 x 3,5 cm. Textile with acrylic gel, glue and spray paint on cardboard

2013

Mohair, polystyrene and spray paint

Red - Height: 33 cm. 33 cm in diameter

Yellow - Height 28 cm. 35 cm in diameter

Blue - Height: 28 cm. 46 cm in diameter 

2014

Installation, crocheted mohair with color spray. Exhibition at Raah, Copenhagen.

2014

Burnt wood, crocheted mohair wool, gel and paint

H: 54 cm.

2013

Kom Bare An / Come On

Hvidovre Hovedbibliotek, solo exhibition

2013

Crocheted mohair, household waste and spray paint

Assembled, 70 cm. in diameter

“Recycled” household waste made into art. A large number of bottles and cans pile up in front of a housewife, blocking her view. She dreams of broader horizons and new possibilities.

To be featured in Japanese tablet magazine in 2014.

2010 - present

Nine embroideries on Indian hand-made cotton paper.

Format: 75 x 55 cm.

“I WANNA BE LIKE YOU” is a project about my relationship with the American film director, Sofia Coppola. ELLE magazine described Coppola as such: “With her immaculate style, hipster boyfriend, creative gang of confidants and award winning film career, SC is the woman other women want to be”. I agree!

2012

Crocheted cotton, polyester filler, needles and foam board

70 cm. in diameter

I went to a coach. She told me to remember that a lot of major accomplishments are based on small wins. This is my collection of modest steps.

2013

Wool embroidery on linen.

158 x 143 cm.

2012

Sewing thread and embroidery on paper

170 x 150 cm.

Exhibited at KE12 – Copenhagen Juried Fall Exhibition, 2012

Inspired by the Big Bang theory and the discovery of the Higgs particle in 2012, this is a study of the possibilities of embroidery on a large paper format.

2012

Plexiglass boxes, mohair wool, cotton

2 pieces: 34 x 26 x 8 cm.

Artists’ Summer Exhibition, Janusbygningen, Denmark, 2012

Homage to my deceased partner in crocheting, sculptor Anette Johns. I Miss You!

 2008

Wool, cashmere, silk, yarn, and other materials

Ten handsewn wall hangings 170 x 150 cm.

Solo exhibition at Gallery Helene Nyborg Contemporary, Copenhagen, 2008

These works spotlight figures with featureless faces who are participants in reality shows such as Survivor, The Bachelor and Big Brother. The title of each work alludes to the premise of the reality show depicted. 

2011 – 2012

Portfolio consisting of twelve A4 pages

In October 2011 I was invited to exhibit in Paris. I read “Sofia Coppola’s Paris”, an interview with my idol in The New York Times. It included “Sofia’s Address book”. In order to bring Sofia and me closer together, I decided to walk in her footsteps.

Two photographs - Sofia Coppola in Los Angeles and Hanne G. in Copenhagen wearing the same outfit, Marni for H&M, 2012. I wanna be like you, Sofia! How close can I get?

2010 – present

Crocheted mohair, spray paint and nylon fish line

Approximately 100 pieces

2010

Merino wool scarf with small implants made of polyester filling

9 x 150 cm.

This piece was made in support of breast cancer awareness and The Danish Cancer Society. “Hanging Breasts” was featured on a live television fundraising show in 2010. I donated my “Hanging Breasts” to the live auction and appeared on the show as “Crocheting Hanne”. 

2007

Twenty-three crocheted heads

Wool, polyester filling and wooden base

Height: about 25 cm. Circumference: 13 – 16 cm.

Presenting the ‘Hanne G’ Human Resource department. The solitude of being an artist inspired me to create a group of very versatile and loyal coworkers. They have been successfully posted in various positions around the country.

Exhibited at KE07 – Copenhagen Juried Fall Exhibition, 2007

2008

Paper maché, gouache

A signed series of six pieces

25 cm. in diameter

Paper maché replicas of the Flora Danica plates from Royal Copenhagen, which is the world’s most prestigious dinner service dating from the 1700s.

My hand crafted editions are decorated like the Flora Danica models, complete with golden borders. In Flora Narcotica, the plant motifs are all intoxicating flora.

2007-2008

Wool and polyester filling

Assorted works of various sizes

2007

Acrylic yarn and polyester filling

Various dimensions

Exhibited at Gallery Helene Nyborg Contemporary, Copenhagen, 2007 and in the curated group exhibition, “Mailles – Art en Laine”, Maison du Danemark, Paris, 2011.

What are weapons? This is a decorous arsenal that women can use to defend themselves against men, other women, the aging process, etc.

2008

Paper maché, gouache.

18 cm. in diameter

Similar in style to the Royal Copenhagen blue Christmas plates, but in this series the motifs are not traditional.

2007

Assorted crocheted weapons, including hand guns and other military equipment

Wool, polyester filler and flower sticks

The Spring Exhibition, Charlottenborg, 2007

“Mailles – Art en Laine”, Paris, France, 2011

“BANG BANG”, CCA Andratx, Mallorca, Spain, 2011

I have been a “weapon manufacturer” since “The War Against Terror” broke out. “Weapon Collection” was my art scene debut in 2007. At present I am best known for these bold, politicised crocheted pieces. These weapons represent my signature characteristics: textiles, contrasts and a sense of humour.

5 panels á 60 x 110 cm.

Cotton canvas with applicated batting dyed with glue mixed with acrylic paint. The panels have an acustic spatialization as they function as sound absorbing plates

The visual motifs are inspired by my residency stay in Iceland in March 2016.