This project is part of my ongoing work at Konstfack in Stockholm. I chose plywood because it provides a good surface for painting, but also for its layered construction and because it is relatively easy to cut and reshape. The surface itself became an active part of the painting. Knots and irregularities in the spruce appeared as small bodily marks, scars or eyes, influencing how the composition developed.

I like to adapt to the material I am working with rather than control every detail in advance. In this case, the material was allowed to influence both the painting and the chair it eventually became.