Photos from the opening of the exhibition on the 8th of May 2026.

Ebba Andersson
Born 1990, Uppsala
"Kajsa"

Manual knitting machine
Wool yarn

Two bed jackets, one for myself and one for my friend Kajsa. A garment designed for the home with a very specific purpose. Perfect for keeping warm while sitting in bed scrolling on your phone or knitting. Kajsa once mentioned that she wanted one. And I happen to be a friend with a knitting machine.

My reference work was a tapestry cushion that Karin wove as a birthday gift for Anders Zorn, a close friend of the Larsson family.

Reference work by Karin Larsson, reinterpreted by Ebba Andersson:

Lovisa Axén
Born 1996, Götlunda
“ Deadheading”

Embroidery
Silk mohair yarn

For roses to bloom, they require light, soil, and care. They want to stand in the sun, root themselves in nourishment, and drink regularly. In spring, the faded blossoms are gently removed so that what is waiting can unfold.

Deadheading is the act of removing flowers that have finished blooming. It is the process through which what once was is allowed to leave, so that the plant's energy can be directed toward new buds, healthier leaves, and deeper roots.

In Deadheading I & II, I have taken Karin Larsson's textile work The Rose of Love as my point of departure. By lingering on the woven rose, I move between thoughts of love, roots, and the search for something that is still indistinct.

Reference work by Karin Larsson, reinterpreted by Lovisa Axén:

Karin Bäckström
Born 1989, Luleå
"We Were Here"

Sewing

Using second-hand household textiles as material and Karin Bergöö Larsson's work The Four Elements as a point of departure, I have created a work in the shape of a cake.

Here, the everyday, the discarded, and that which rarely takes center stage are elevated and celebrated. The foundation consists of monograms made by unknown textile makers. Craftspeople who, like Karin, created within and for the home. The embroidered letters become a small yet significant marker of someone's existence: I was here.

The work is a tribute to unknown makers, the home, and the textiles that belong within it.

Reference work by Karin Larsson, reinterpreted by Karin Bäckström:

Agnes Eriksson
Born 1994, Stockholm

Weaving and embroidery

The Sunflower Cushion felt like an obvious starting point for the project, vibrant and warm. Then, likely because I have been working with forest fires for some time, I began to read flames into the sunflower petals and saw a connection to fire. It was not until I translated the word "sunflower" through Google Translate that I realized they are tiny suns, and therefore tiny fires. My association suddenly felt completely natural.

My interpretation remains a cushion, although not commercial in its form or format. It feels playful. I cannot quite put my finger on why.

Reference work by Karin Larsson, reinterpreted by Agnes Eriksson:

Linn Karlsson
Born 1994, Norrköping

Open-rib weave

For this project, I chose Karin's blue-and-white striped rib rugs as my reference object. The "recipe" (her word) for these rugs came from her mother and childhood home.

I have woven stripes in a more open rib structure to allow the straw to remain visible.

Reference work by Karin Larsson, reinterpreted by Linn Karlsson:

Karin Kauppi
Born 1998, Stockholm

Weaving

For my weaving, I drew inspiration from Karin Larsson's woven textile The Rose of Love. Her textile is placed in a doorway and functions as a room divider. Although it separates spaces, she succeeded in giving it a sense of lightness and transparency by weaving narrow stripes that hold the figurative forms together.

The weaving creates a boundary while still allowing light and the eye to pass through into the adjoining room.

I am inspired by her free and playful approach to weaving. In my own work, I focused on the idea of dividing without entirely excluding, and on the forms themselves: the snake winding around the stem of the rose, and the organic meeting the straight and determined.

Reference work by Karin Larsson, reinterpreted by Karin Kauppi:

Amanda Sartori Leksell
Born 1993, Mora
"Thank You for the Rest"

Padded double weave, plain weave
Tencel, silk, wool

Thank you, pillow, for your support, rest, comfort, and warmth. For effortlessly shaping yourself to my body and protecting me from what is hard.

Reference work by Karin Larsson, reinterpreted by Amanda Sartori Leksell:

Malin Mattebo
Born 1982, Örnsköldsvik

Second-hand kitchen towels and curtains, reactive dye, hand sewing, beeswax coating

Working with second-hand household textiles makes me think about the defects that cause them to be discarded. Holes, stains, traces of human use. In this work, I wanted to embrace them.

I was drawn to a dark blue curtain with red poppies by Karin Larsson. The curtain hung for many years in the old room at Lilla Hyttnäs and became heavily faded. It is as if light burned itself into the fabric, creating a vibrating painterly effect of faded yellow-green, navy blue, and pale pink. A fantastic colour combination, a collaboration between Karin Larsson, the sun, and time.

Reference work by Karin Larsson, reinterpreted by Malin Mattebo:

Wilma Tesch
Born 1994, Stockholm
"For Patrik, Barbro and Sickan"

Manual knitting machine, knots, embroidery
Linen, cotton, wool

A declaration of love to my family. Inspired by Karin's way of incorporating initials and family members into her art.

Karin's patchwork coverlet immediately caught my attention the moment I saw it. I have drawn inspiration from all its elements: the knots, the fabric strips, the symbols, and of course the initials.

Reference work by Karin Larsson, reinterpreted by Wilma Tesch: