Lisa Englund, known artistically as Lien, is a textile artist specializing in tapestry weaving. Her work, deeply rooted in symbolism and imbued with a mystical quality, often features the serpent motif, a recurring element that resonated with her long before she realized its connection to the Chinese zodiac and the year of her upcoming exhibition at Färgfabriken in Stockholm. This synchronicity, though unintentional, underscores the universality of the serpent’s symbolism, its multifaceted interpretations across cultures and religions, representing everything from healing and wisdom to temptation and destruction. Englund’s fascination with the serpent stems not from its often-vilified nature, but rather from its complex and contradictory meanings, highlighting its role in various mythologies and belief systems.
The exhibition space at Färgfabriken, a former industrial building with soaring ceilings and a stark, almost spiritual atmosphere, provides a dramatic backdrop for Englund’s intricate tapestries. Initially concerned that the vastness of the hall might overwhelm the intimate nature of her work, Englund discovered that the minimalist environment enhances the sublime, mystical dimension she strives to convey. Arranged along the central axis of the hall, reminiscent of an altar procession, the ten tapestries, crowned by a larger piece hanging beneath a sunlit circular window, command attention and invite contemplation. Their deliberate placement, slightly higher than the recommended hanging height, further accentuates their elevated, almost sacred status.
Englund’s journey into the world of textile art began during her foundational art studies, where she embraced weaving as a form of feminist expression, aligning herself with a traditionally female-dominated artistic sphere. Her upbringing, surrounded by the constant activity of knitting and crocheting, instilled in her an early appreciation for textiles. The inheritance of her grandmother’s loom solidified her connection to this craft, imbuing her work with a sense of familial history and generational continuity. Englund finds a compelling contrast in the process of tapestry weaving: the meticulous, time-consuming nature of the craft juxtaposed with the often slightly askew, imperfect results. This inherent imperfection, far from being a flaw, adds a touch of humor and poignancy to her pieces, allowing her to explore complex themes without descending into platitudes.
The symbolism within Englund’s tapestries is rich and personal, drawing inspiration from nature, biblical narratives, mythology, and pagan traditions. Her work features motifs referencing Adam and Eve, iconic religious figures, prehistoric creatures, tarot cards, and Norse mythology, all interwoven with the recurring serpent motif. The serpent, entwined around tree trunks, swimming in water, or encircling the lovers in paradise, becomes a central character in Englund’s visual narratives. She skillfully utilizes established symbols for their inherent directness, recognizing their power to communicate across time and cultures, even as their specific interpretations may vary. The Midgard Serpent from Norse mythology, a colossal serpent encircling the world, becomes a particularly potent symbol for Englund, representing her own grappling with contemporary anxieties and the looming threat of environmental collapse.
The creation of each tapestry is a lengthy process, beginning with the foraging of natural materials in the forest. Englund collects mushrooms, lichens, flowers, leaves, and various grasses, transforming them into dyes in her home studio, where ”there’s always something simmering on the stove.” This constant experimentation with natural dyes, often guided by the wisdom shared in online ”plant dyeing groups,” reflects Englund’s commitment to traditional techniques and her appreciation for the knowledge passed down by previous generations of textile artists. One particular piece, a self-portrait depicting a woman holding a dog, reminiscent of Madonna and Child iconography, highlights Englund’s innovative use of natural dyes, incorporating unconventional ingredients like her ex-boyfriend’s urine to achieve a specific shade of blue. This experimental approach, rooted in historical dyeing practices, demonstrates Englund’s willingness to push boundaries and explore the alchemical possibilities of natural pigments.
Englund’s work aligns with a resurgence of interest in textile and weaving art in Sweden, a trend she attributes to a growing appreciation for tangible, handcrafted objects in a world saturated with digital images. In a culture increasingly dominated by the ephemeral nature of online visuals, textile art offers a deeper, more tactile experience, demanding to be encountered in person. Its resistance to digital reproduction underscores the importance of physical presence and the unique qualities of the handmade. Englund’s tapestries, with their intricate details and symbolic depth, invite viewers to engage with art on a visceral level, offering a respite from the constant barrage of digital imagery and a return to the tangible, material world. The serpent, a symbol of renewal and transformation, fittingly represents the revitalization of this ancient art form, weaving together tradition and contemporary concerns in a tapestry of rich meaning.
