Diana, how do you balance control and unpredictability within your objects?
In the initial stages of a new piece, I typically have a starting point—a material, a tactile sensation, or a shape that intrigues me. However, as the sculpture or painting evolves, it takes on a life of its own with its own will, energy, and story to tell. At this point, I need to let go of my preconceived notions and be receptive to the work finding its own shape through my hands. It’s as if my hands tap into a place deep within me that is otherwise inaccessible.
With your background in the fashion industry, what role does craftsmanship play in your creation of textile sculptures, and how has your skill evolved?
Being self-taught, my background in fashion allowed me to develop a unique technique in pattern construction. This involved draping fabrics on my own body or using friends as mannequins. I consider pattern construction a form of mobile or fluid architecture— volumes in constant change and a space for the body. The countless hours spent sewing and working with textiles have provided me with an intuitive knowledge stored in both my body and mind. Inspired by exploring the formulas behind a beautiful line, I am intrigued by the dynamics of how angles and curves interact differently depending on the material used to form a three-dimensional shape. Sculptural works, more than clothing items, represent ever-fluctuating volumes and three-dimensional abstracts that occupy space. I´ve always felt I wanted to go further, express myself more, spend more time at it, and make larger and more complex shapes than what I was restricted to when working with garments.
Focusing on your thematic exploration of motherhood in your work, are there any historical stories related to motherhood that have inspired your work, or is your source always personal?
My art is deeply personal, rooted in a woman’s perspective. While themes of pregnancy and childbirth have prominently featured in my recent work, the inspiration is drawn from my personal experiences. However, these experiences often resonate with universal aspects shared by women across time.
What are you currently working on?
I have just finished installing a significant work that has been my main focus for a long time—an expansive, site-specific sculpture titled ”What could be touched and that beyond”, for the Museum of Textiles in Borås, Sweden. The sculpture, reaching a height of 10 meters, is crafted from jute and an old mesh made of copper thread that I discovered in the museum’s storage during an earlier visit this year. The element in jute, starting from the floor, extends like a tapering tree trunk, reaching toward the highest point of the room. The “tree” serves as a symbol of life force, connecting to the earth, the body, and nature—essentially, the tangible elements within our reach. Contrastingly, the transparent cloud in copper mesh represents the intangible—the realm of thoughts, dreams, imagination, the soul, and the immeasurable. It hovers, shimmering in the air, just beyond our grasp, symbolizing the aspects of existence that elude the sense of touch and inhabit the ethereal spaces of our consciousness.
As a final thought, how do you remain connected to your roots while embracing the future?
Having children has had a profound impact on me personally. It’s akin to rediscovering my inner child, reconnecting with what is essential and pure. This includes playfulness, fantasy, vulnerability, and viewing the world with a renewed perspective. Embracing a childlike approach, I aim to stay present, observing the intricacies of nature, from ants moving on the ground to the whispers of trees.
