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MATERIALS & PROCESS
My practice begins with the material itself. Each fibre carries a story—its texture, its character, the rhythm of the season in which it was grown and these qualities shape the work as much as my own hand. I work in dialogue with natural materials, responding to their possibilities and allowing the material to guide the direction of the work. This approach keeps the process at the heart of every piece, and allows each work to carry traces of its making.
The journey from raw fibre to finished piece is as important as the work itself. This process can take many days or weeks depending on the scale of the piece. I aim to make this process visible - through texture, layering and surface detail - so that the viewer can sense the material’s path as much as my part in it. Each work is a record of interaction between nature, fibre and the act of making.
For my felted wall hangings, I mainly work with wet felting and natural dyeing tehcniques using my own fibre and other natural fibres. For my woven and tufted tapestries I mainly use waste materials from textile industry.
SUSTAINABILITY & SLOW MAKING
Sustainability is an integral part of my practice. Whenever possible, I work with local and homegrown fibres, allowing the materials and the rhythms of the seasons to guide the pace of making. This close connection to fibre and place shapes both the process and the final work.
Working slowly allows me to engage deeply with each stage of the making process. From raw fibre to finished textile, I aim to use materials thoughtfully, minimise waste and honour the natural qualities of the fibres I work with. The result is work that carries the quiet traces of time, attention, and a continuing dialogue with the material.
RURAL LIFE INSPIRATION
Living and working in the countryside shapes both the materials I use and the forms my work takes.
I am inspired by the quiet rhythms of rural life and cycles of nature - the movement of light across seasons, the soft greys of winter, the warm tones of autumn, the textures of soil, grass, tree bark offer me plenty of direction.
This connection to landscape and seasons allows my work to carry a sense of time, place and observation. Every piece reflects not only the material itself but also the environment and life from which it comes, preserving the quiet honesty and texture of my surroundings.
During my daily walks in nature, I capture moments of inspiration that feed directly into my design process. I share more of these observations and insights in my online courses.
This is the river close to my house, which offers me plenty of inspiration throughout the year
Frozen waterfall creating amazing textured elements
Nature patterns
This is the river close to my house, which offers me plenty of inspiration throughout the year
FIBRE AND MATERIALS
Me with one of my favourite sheep Henrietta
Swedish Finulls enjoying summer weather
Angora rabbit babies
Me with one of my favourite sheep Henrietta
I primarily work with wool from my own flock, carefully tended and sheared in tune with the seasons.
Our sheep include Swedish Finewool, whose fleeces range from soft white to warm light and dark browns, as well as Gotland sheep carrying subtle tones of grey. Alongside the sheep, we keep a small number of Angora goats and rabbits, whose fibres offer different textures and qualities within my work.
For my felted wall hangings, I often use the natural colours of wool, combining them with natural fibres such as silk, flax, and hemp for their texture, strength, and sustainability.
Every material choice is intentional: fibres are selected for how they respond to hand, water, dye, and time, and for their ability to reveal the raw beauty of natural materials.
FIBRE PREPARATION & WOOL PROCESSING
Each piece begins with careful preparation — the most time-intensive stage of my practice. The process starts with shearing the fibre animals, followed by sorting and washing the fleeces.
I prefer working with one fleece at a time. This allows me to become familiar with the wool and to understand its texture, strength, and character, finding the most suitable way for it to be used in my work.
Once washed and dried, the fleece is gently opened by hand and carded into small batts, preparing the fibres for felting.
At times I also handspin the carded wool into yarn, allowing subtle variations of colour and texture to emerge.
I welcome the small imperfections that arise through these natural processes — shifts, marks and variations that give the material its depth and character.
Preparing fibres for the next project
Working outside sorting wool
Natural colours of Angora rabbit fibres
Preparing fibres for the next project
NATURAL DYEING TECHNIQUES
White wool slightly dyed with onion skins and dried peppermint leaves in the winter time
Wool in a dye water (onion skins)
Detail of the rustdyed and felted wall hanging
White wool slightly dyed with onion skins and dried peppermint leaves in the winter time
My colour palette is largely rooted in natural tones. Most of the wool fibre I work with is simply washed and carded, as I value the subtle colours that occur naturally in the fleece.
When a piece calls for additional colour, it often emerges through natural dyeing processes. Natural dyes introduce soft, organic tones that echo the surrounding landscape. I work with plant-based dyes and rust dyeing, allowing the interaction between fibre, water, minerals and time to shape the final result.
Plant materials create gentle variations of colour, while rust dyeing can leave distinctive marks and patterns formed through the meeting of iron, moisture and fibre.
These processes remain partly unpredictable. Rather than controlling every outcome, I allow the materials to respond to their environment, welcoming the shifts, stains and textures that appear. The colours and marks become part of the textile’s story, carrying traces of time, transformation and the natural elements involved in its making.
FELTING TECHNIQOUES
My felting techniques are slow and responsive. I work entirely by hand, shaping, layering, and connecting fibres with close attention to rhythm, structure and surface.
It is a material-led process, where the fibres themselves often guide the direction of the work. Through repetition and careful observation, the piece gradually evolves, allowing form and texture to emerge naturally. Each work carries the imprint of both the material and the hand that shapes it. Through the pressure of the hand, the fibres bind together, transforming their original form into a new surface and structure.
I use a range of wet felting techniques to create different textures and surfaces, allowing each piece to develop its own character. I love using the combination of few techniques together to express myself more though the surface design elements.
Laying down wool & fibres for the felted wall hanging
Working by hand with every fibre of wool
Creating textures with fibres, handspun yarns and felt cut offs
Laying down wool & fibres for the felted wall hanging
WEAVING TECHNIQUES
Using waste yarns to create handwoven tapestries.
Beginning of the tapestry - upcycled window frame turned into a weaving loom
Weaving is the most therapeutic technique for me..
Using waste yarns to create handwoven tapestries.
Working on the vertical tapestry loom, I build the textiles slowly, thread by thread, interlacing warp and weft to create surfaces that hold both strength and softness.
Natural fibres respond differently under tension, revealing their character through subtle variations in texture and density. I often combine wool, handspun yarns, and other natural fibres, allowing their differences to shape the surface and depth of the woven piece.
Many of my tapestries also incorporate leftover or waste materials from the textile industry. By reusing these fibres, I give new life to materials that might otherwise become waste, adding another sustainable dimension to my practice.
Through this gradual process, the textile grows steadily on the loom. Each woven work carries the rhythm of its making, where repetition, patience and sensitivity to the material guide the final form.
FINISHED ARTWORKS
The finished works carry visible traces of their making. Layers of fibre, subtle variations in colour, and irregular textures reveal the slow processes behind each piece.
Through felting, weaving, dyeing, and natural transformation, the materials gradually evolve into new forms while still holding memories of their origin. Each work becomes a quiet record of the dialogue between fibre, process, and time.
For me, materials are not passive elements but active participants in the making. Every fibre carries its own history — shaped by landscape, animal, season and time — and these qualities influence how the work unfolds.
By working closely with natural fibres and slow processes, I allow the material to guide the outcome rather than imposing a fixed idea from the beginning. This ongoing dialogue between hand, fibre and environment shapes textiles that reflect both their origin and the time invested in their making.
Through this approach, my work seeks to honour the raw beauty, resilience, and quiet complexity of natural materials.
Explore more finished artworks in my Portfolio here.
Using natural materials with luffa in a wallhanging "Connections"
One of my largest wall hangings, made in 2025 "Transition"
Tufted wall hanging "Growth" 2025
Using natural materials with luffa in a wallhanging "Connections"
Through these materials and techniques, I explore the relationship between texture, landscape and the quiet rhythms of nature. Each piece evolves slowly through a dialogue between fibre, hand and time.