Mira Solhén Opus for Milk Decoration Magazine Issue 34

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Mira Sohlén. — The textile artist works with handmade tufted shapes of wool, an inventory of shapes - lines, dots, commas and apostrophes - that she makes herself and then assembles into playful and yet contemplative compositions on an endless quest for harmony and balance between positive and negative space. —

Text: Elsa Le Saux – Photos: Thibault De Schepper

Antwerp-based Swedish artist and designer Mira studied fashion design at the Amsterdam Fashion Institute and Gerrit Rietveld Academie. Soon after graduating she joined FALKE, where she worked on all the brand’s collections in her role as lead designer. During her time there, innovation, high performance materials, timeless designs and durability were at the heart of her creative preoccupations. At the start of 2020, Mira decided to make the most of this valuable experience and devote herself to her textile pro- ject, which would be the opportunity to put her ideas to the test and allow her style to mature. From thick Berber wool to the finest alpaca, not forget- ting silk and linen, she is open to any materials that will allow her to create texture and subtle details. Mira makes each carpet-like element with a tufting

gun, before assembling them into subtle compositions taking a completely free approach to scale and form and combi- ning different neutral shades of beige, green and brown. Mira’s graphic crea- tions are a tribute to her grandmother, a key figure in her personal development who taught her to sew and weave and gave her a passion for textiles. As her grandmother was born deaf, Mira grew up communicating with her through sign language, helping her to appreciate how feelings can be conveyed in graphic form. Mira avoids drawing and never envisions the final outcome, preferring to take her time, experiment and let her emotions drive the process. She likens her approach to that of a composer and each tapestry’s title borrows the word “opus” from the world of music. Opus is Latin for work or labour and is used to designate a piece of music by a particular composer.

 
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In the titles of her tapes- tries, it is followed by a Roman numeral that identifies each piece in chronologi- cal order, like a manifest detailing her evolution period by period. Mira is fas- cinated by the work of Lebanese painter and sculptor Saloua Raouda Choucair, who she admires for her modernity, timeless aesthetic and ability to work in different mediums. She sees her work as the “perfect association of a geometric puzzle and poetry”. The works of artist Gonzalo Fonseca are another recurrent subject of her reflections. The relation- ship between areas of complex detail and the whole, narrative force and crea- ting focal points are just some of the the- mes she likes to reflect upon. Every day, Mira brings together inspirations from the world of art, poetry and music to stimulate her experimental approach.

Based in Antwerp, a city on a human scale ideally located between Paris, Amsterdam and London, she draws energy from its creative buzz to move forward with equanimity. Mira shares her home there with the artworks and collectible designer furniture of her partner, gallerist Alain Hens. Both live and work in their apartment cum showroom near the Royal Museum of Fine Arts Antwerp. Looking to the future, in her wildest dreams Mira sees much larger creations, maybe even han- ging on the walls of museums and ima- gines herself developing on the noise absorbing qualities of her tapestries to create even cosier, immersive interiors.

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