Interview with member Terese Molin
Updated: Jun 29
photo: Sarah Meurle
Describe your art practice and your family dynamics:
I weave abstract landscapes where the colour is central and significant. I am studying the master's program in textile art at HDK-Valand and am currently on parental leave because I had a child in December.
In November, I will continue my studies and then graduate in June 2023.
Tell us a little more about how you developed your practise:
I learned to weave during the first year of the bachelor's program in textile art at HDK-Valand. Before that, I painted, in some form, extended painting. In addition to the colour, I used plaster, concrete, yarn and fabric. I was interested in colour, contrasts, and depth in the surface of abstract images. I applied for textile art because I felt an attraction towards weaving, and when I was introduced to it, I knew I had found my thing.
I fell in love with the technique and the textile material. The structure of weaving suited me very well. I realised that I not only have pictures and colours inside me that I want to materialise, but that I am in many ways a craftswoman.
The craft of weaving has been a constant engine and, which I think, has made me continue to work artistically, despite the setbacks.
Since I started weaving in 2015, I have explored how I can work with colour and light when warp and weft meet. Mostly I use simple bindings, and dye all the materials myself. I have continued painting because I, in some works, paint the warp with reactive textile paint. Another fascination I have is the gradient, which I weave using simple mathematical calculations.
I knew I wanted to have children and, thanks to the fact that several colleagues and fellow students had children during and immediately after their studies, I knew that I could do the same, that it does not have to be a problem to take a year off, for example, or that you have to establish yourself with a more stable income before you can or should have children.
You are based in:
How's you 2022?:
I am participating in some group exhibitions: "Spring exhibition" at Galleri Backlunds -22 spring, "Portrait of a place 2.0" at Not Quite this summer and "All TID Textil" at Tomelilla Konsthall this autumn. Otherwise, I will try not to work so much at all during my parental leave.
"Border" 2021 photo: David Eng
"The City" 2021
Have you lived or studied elsewhere:
I was born and raised in Falköping. I did my preparatory studies at the Munka Art School in Munka-Ljungby in northern Skåne 2012-2014. I also lived in Malmö from time to time before I started studying in Gothenburg.
Has your place influenced you, your art practice, your perspective and your network:
The entire network of textile art from HDK has been a huge asset.
Describe how you developed / use your network:
I have participated in several collaborations with people in my network, which has led to scholarship support, workshops and exhibitions. I am part of a studio collective that has become well-functioning thanks to our common network. What is your story about becoming a mother and has your attitude and methods changed since you became a parent:
I knew I wanted to have children and thanks to the fact that several colleagues and fellow students had children during and immediately after my studies, I knew that I could do the same, that it does not have to be a problem to take a year off, for example, or that you have to establish yourself with a more stable income before you can or may have children.
What is your perception of the representation with artists / musicians who combine their motherhood in the artist / art world: I see more representation. I feel it is okay to become a parent at the same time as you build up your practice and establish yourself. At least in my field. What advice would you give to new artists entering a motherhood: Find one or more contexts where support, understanding and representation exist.
What do you want to bring to the table within your art community / Do you miss any discussions, themes etc: I want to establish myself in my field and in the future work with public commissions, among other things. I want to learn more about this, the application procedure, sketching commission and process etc. I want to continue to generously exchange ideas and opportunities. Can you describe a moment or a work of art that you think was a turning point in your career: The meeting with the weaving artist Elisabet Hasselberg Olsson was important. I am now studying her weaves more closely with the help of support from Gunilla Edlind's Scholarship Fund.
"Bleached Waters" 2020
Terese Molin photo: Sarah Meurle
Where is your studio, do you have a private space to reflect and develop and implement ideas? I took a break from my studio which is located in Linné in Gothenburg. I share it with other textile artists and a ceramicist. Do you have someone who inspires your art practice or reflects ideas with? Colleagues from textile art at HDK. (How) Has the pandemic changed your artistic practice: Not so much as I studied during the pandemic, and thankfully, we had access to the workshops in the meantime. The difference has been fewer exhibitions and less networking.
Can you see yourself as a mentor to another artist, and what qualities would you offer as a mentor?: As I have not graduated and am in the start-up of my practice, I see myself being more of a discussion-partner and colleague, rather than a mentor. I have great ambitions and a strong motivation to work as an artist, and look positively to the future. I think this is important to convey, despite the fact that it is difficult and almost impossible to live solely on one's practice. Several artists I have met have conveyed a rather negative image of this profession, and it has actually happened on several occasions that I have been advised against "investing", studying at a higher level, for example. I understand where it comes from and it is, of course, important to be aware of what the climate for cultural workers looks like, that jobs are few and the money is small in relation to time and expenses. But with that clairvoyance, in combination with a belief in art, comes a readiness for the very difficulties one will encounter. And to be in a supportive context where you do not become alone, I think enables motivation and drive. I can contribute with this approach.
What makes you most expectant in your future: To continue weaving. That I will create art, that I do not yet know what it is, that gives me butterflies in my belly.
"Horizon III" 2019