Rasmussen’s artistic practice combines different expressions related to other craft traditions and painting. Her works are characterised by bold colours and geometric patterns juxtaposed with floral imagery. In this article by Marit Øydegard we get a closer look at the exhibition 'Retellings and Myths', a collaboration with Terje Nordby – a playwright, radio celebrity and ‘mythologist in private practice.’ The textiles themselves tell stories, but through Nordby’s reflections, they take on an added dimension.

In this essay, artist and critic Tommy Olsson reflects on John K. Raustein's exhibition When Everything Falls into Place that was exhibited at Kunstnerforbundet in Oslo, in 2019 – an immersive, site-specific textile installation.

In this essay, Zofia Cielatkowska examines the work of Karen Kviltu Lidal, which explores society, architecture, and public life from the starting point of the physical body. Kviltu Lidal moves freely between art forms such as weaving, installation, and video documentation, but textiles prevail as her basic point of reference in both the metaphorical and literal sense.

In this conversation with artist Aslaug Juliussen, Hilde Sørstrøm delves into Juliussen's sustainable approach to material transformation. While her installations and sculptures are made using materials and technique from her Sámi heritage, Juliussen always seek to evolve and transform the materials into something new.

In this interview, André Gali talks to textile artist Ellen Grieg about her dyeing processes, working sculpturally with rope and her artistic practice as a long-term research project.

This essay by Toril Moi investigates the power of textiles, as a potentially feminist endeavour. The essay was published in the exhibition catalogue for Ode til en Vaskeklut, Hymne til en Tiger, a survey of textile art from Norway in connection with the 40th anniversary of Norwegian Textile Artists (2017).

In this interview with artist Franz Schmidt by Gjertrud Steinsvåg we are introduced to the exhibition Weaving Fabrics for Suits at Oslo Art Society and Schmidt’s experience working with decommissioned industrial woolen mills. Schmidt’s artistic practice involves weaving fabrics, tailoring garments, and collecting historical objects – an exercise which closely examines how material things become imbued with emotional significance.

Jessica Hemmings reflects on the textile works of artist Toril Johannessen and her exhibition Unlearning Optical Illusions. At first sight, Johannessen’s works evoke connotations to the patterns found on West-African textiles but at a closer look, these patterns explore and challenge early theories on optical illusions.