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I'm attracted to thread as a sculptural material. I like its connecting qualities and texture that makes it possible to "sketch" in three dimensions and create large objects that are at the same time airy and light. My work concerns cultural structures and expectations on femininity and the importance of gender. With traditionally female techniques I want to make visible the paradox of security and imprisonment that womanhood entails. The work depicts emotions and experience that one tries to hide away from oneself and others, and that nonetheless trickle or gush forward. In my piece "Waiting for the prince", where I sit dressed in a bridal gown crotcheting its train, the bride is watched and judged. She is both harmless and threatening, an analogy of our perception of female sexuality. Active yet passive she sits with her crochet work in ageless and continuous activity, waiting for deliverance. Her dreams and longings are woven into her train, and with her work she is crotcheting herself into the home. She makes herself into a part of the furnishings and knits a cocoon for herself in the shape of tablecloths, antimacassar, curtains and bedspreads. These things, made with love, are often unappreciated and regarded as "unnecessary". To produce them is a way to make a place for oneself in existence, to justify oneself and mark out a territory. These crocheted cloths evoke a sense of spiderwebs, and the train that is never completed becomes a catching net. The goal is constantly moving and the waiting never ends.
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