EXPLORING MEMORIES AND MATERIALITY WITH MATHILDA LÄCKBERG HOLMQUIST

In this edition, we sit down with Mathilda Läckberg Holmquist, a Swedish visual artist whose practice blends photography, textiles, and found objects to evoke personal and collective memories. Mathilda’s work defies traditional boundaries, transforming familiar materials into immersive, nostalgic compositions. With a background spanning music, sculpture, and art photography, she brings a unique, multi-disciplinary perspective to her craft, weaving layers of past and present into every piece.

In our conversation, Mathilda discusses her artistic journey, from early experiments to her ongoing Hot and Sandy series, and offers insight into the materials, themes, and memories that shape her work.

The following interview has been edited and condensed for clarity.

COMA: Thank you for your time, Mathilda! Let’s start with your background—could you share what led you to pursue a career in art?

Mathilda: Sure. I actually started with music; I went to a music school early on. But when I entered gymnasium, I was tired of music and wanted to try something new. My brother was in media studies, so I went into that, focusing on film, photography, writing, and graphic design. Over time, I leaned more toward photography. It was also during the blog era, so my friends and I got cameras and started sharing our photos online.

After that, I kept doing photography casually, often for friends in fashion design. But I wasn’t sure how to make a career out of it, so I took a few years working in sales. Eventually, a friend invited me to join a photography course at Gamleby, where I was exposed to art photography, something I hadn’t really encountered before. Until then, I’d mostly seen editorial or commercial photography, but this course was focused on art, which was eye-opening. I also started experimenting with printing on textiles since a friend in fashion helped me with digital fabric printing.

Then, I took a sculpture course in Gothenburg, but COVID cut it short. That experience was quite traditional—we worked with life models and sketches. It felt refreshing, as it allowed me to step away from conventional photography presentations. I started thinking about how to mix photography with other materials, like textiles, to present it in new ways. I even used fabric from secondhand shops to create frames that extended the aesthetic of the photos.

COMA: That’s fascinating—your journey seems to have shaped your approach to photography in a unique way. How did your studies at Valand impact this development?

Mathilda: Valand didn’t necessarily change my perspective, but it helped me understand why I was drawn to certain subjects. I found myself returning to personal memories and surroundings, trying to find meaning in things that may seem insignificant to others. I’d say my work is nostalgic, but the experimental side, like printing on textiles or creating objects, was always there. Valand provided the freedom and resources to explore these ideas without traditional constraints.

COMA: Let’s talk about your themes. You often explore collective memories and personal observations. How do these concepts guide your creative process?

Mathilda: I always start with something personal—a memory, an object, a song title, even a toy. I gather these “ingredients” and consider how they connect, even if it doesn’t always make logical sense. Sometimes, it’s more about mixing aesthetics from different eras or adding a bit of fiction.

My memories towards certain objects or aesthetics can be blended with collective memories, creating a narrative that might not be entirely accurate but resonates emotionally.

COMA: Do you hope the audience will connect with your personal memories, or is it more about creating space for their own interpretations?

Mathilda: I love it when people relate to my work in their own ways. Different viewers connect with different aspects—some might relate to the nostalgic elements, while others see something entirely different. Objects from my childhood, like curtains or cloths, bring my own memories into the piece, but it’s up to the viewer to interpret. I think the diversity in response is what makes it interesting.

COMA: Speaking of personal touches, could you share more about the Hot and Sandy series? How did the idea of combining photography and textiles come about?

Mathilda: Hot and Sandy wasn’t initially planned as a project. The photos were just spontaneous shots from my phone or pocket camera—organic reflections of my surroundings. By framing them with textiles, some of which are from my own childhood, I connected them into a series and gave them a cohesive feel. It’s also interesting to reuse images and materials, as it allows them to take on new meanings over time.

COMA: I noticed you print on cotton satin in this series. Was that an experimental choice?

Mathilda: I’d used this fabric before and found it perfect for this project. It’s not too shiny or too matte, and it has a bit of a flow to it if there’s a breeze. Textile has a tactile quality that brings the work alive—you can sew directly onto it, add layers, and play with texture. I like that it’s not flat; it gives me room to improvise.

COMA: The aesthetic in your work feels like a dialogue between the physical and digital worlds. Is that intentional?

Mathilda: I hadn’t thought about it consciously, but there is definitely a mix. The photos in Hot and Sandy are analog, giving them a different quality from digital shots, but the process of printing on textiles brings in a digital technique. The interplay between reused fabrics and photos is where the work comes together. The fabric enhances colors and textures, which gives each piece a distinct feel.

COMA: Could you tell us about any upcoming projects or exhibitions?

Mathilda: Yes, I’m presenting a publication in an exhibition at Tabac Studio in Stockholm this winter. It’s a book I created in 2022 in school about the interiors of Swedish pizzerias and their unique aesthetic. The project is titled "That’s Amore”. I see it as an ongoing project that I’d love to expand into a full book someday.

And I’d like to extend Hot and Sandy as well—it was a fun series to work on, and I think there’s more to explore with it.

COMA: Thank you, Mathilda. It’s been fantastic hearing about your journey and process. We’re excited to see more of your work and follow your upcoming projects.

Mathilda: Thank you so much!

 

Stay tuned for more artist interviews and insights into our ongoing exhibition (Season 2). Visit our website and Instagram for the latest updates and to explore the incredible work of emerging artists like Mathilda Läckberg Holmquist.

November, 2024 - COMA Editorial team