Amazing national and international textile art.
June 2-24, 2012
Open to all artists working with textiles in any way.

Interview with Artist Nina Bondeson
Artwell Gallery spotlights international and national textile and fiber arts in June with its “Fabrication” show. Artists from as far as Sweden, Japan, and North Carolina will be exhibiting. The show debuts with an opening reception on June 2, from 6-8pm, and concludes on June 24.

Recently, the gallery interviewed Swedish textile artist Nina Bondeson. Here are some excerpts from our talk.

AW: How would you describe your work?
NB: I am a visual storyteller. 
AW: What processes or techniques do you employ?
 NB: I work in an artifactual tradition. I make or process artifacts to have them communicate in the way that artifacts do: they connect human experiences in unforeseen manners. Through this art you don´t get to know anything special about the artist. But if the art is good, you might get to know something about yourself. 

AW: What are your favorite sources of inspiration?
NB: Documentaries on film or radio, poetry, Meissen porcelaine figurines, encyclopedias, manuals, unanswerable questions,

AW: What other artists do you admire?
NB: Albertus Pictor,  http://www.albertuspictor.com/jubileumeng.htm 
various underground cartoonists, Frida Kahlo, Rose-Marie Trockel,
Silja Puranen http://www.elisanet.fi/silja.puranen/ 
 Look at Wölfli´s Tomato soup that he made a year before he died in 1930 and when Andy Warhol was a toddler in Pittsburgh!
AW: How did you arrive at this particular medium?
NB: I saw an embroidery at a museum in Stockholm in 1987. It was a letter sewed 1805, in tiny cross stitches by a woman in prison. She was accused of having killed her husband and two small children, she wrote that she was innocent and begged for mercy. She didn´t get any but was beheaded three years later. Someone took care of the embroidered letter and it ended up in the museum. It made me all upset and excited and I had to embroider, too. I patinate most of my embroideries to connect to her embroidery.
AW: Do you have formal training?
NB: Quite a lot. 9 years of art schools.

What other mediums, if any, do you work in? Do the other mediums intersect and play off of each other?
NB: I paint, often on chairs and tables and doors and stuff,  I do lithography, I do a lot of computerbased images, I write. I am a trans intellectual.  I go between two different ways of working; on one hand there is the artifactual art making and the kind of writing that is connected to it and on the other is trying to understand what the artifactual art making is and the kind of writing that is connected to that. The epistemological interest did not, as did the art work, come from an inner need. It came from an outer pressure. When the conceptual art tradition, that used verbal language as it´s main material, took over the Swedish art scene I had to figure out what was going on in order to maintain my own acting space. Sweden is a small country. Small art scene. Not always enough room for the wide spectrum of differences that art holds.

Can you describe your most fulfilling project?
NB: The project is the ongoing art work. I hope it will go on until I die and after that, I don´t know.