HAND-TUFTED VISIONS OF CORNELIA ÖBERG

In this interview, Cornelia Öberg shares her creative journey, from a passion for photography to becoming an experimental textile artist focused on hand-tufting and embroidery. Currently pursuing her MFA at HDK-Valand, Cornelia explores themes of nature, symbolism, and the interplay between reality and fantasy. Her intricate pieces, often depicting animals and natural symbols, blur the lines between craft and fine art. Cornelia reflects on the labor-intensive nature of her work, the emotional depth she brings to each piece, and her desire for artistic freedom. Join us as she reveals her inspirations, thoughts on the art-craft divide, and her vision for the future.

The following interview has been edited and condensed for clarity.

…

COMA: First of all, thank you for your time, Cornelia.

Cornelia: Yeah, it was super nice to be able to talk with you.

COMA: I’d like to start by understanding more about your journey into textile art. What initially drew you to techniques like embroidery and tufting?

Cornelia: I think we need to go even further back to my interest in photography. I grew up with a big passion for photography, and as a teenager, I spent a lot of time with creative friends. We played around, took photos, and used blogs to express ourselves. We didn’t necessarily think of it as art—we just enjoyed making images.

I studied photography in gymnasium and later attended a preparatory photography school in 2018 because I wanted to study photography at Valand. That time was amazing. I learned a lot about who I was as a photographer, but I started feeling a need to take images further. I missed the materiality aspect. I wanted something more tangible.

I spent the first half-year just taking photos, and the second half making objects. That led me to apply to Gerlesborgsskolan in Bohuslän, a preparatory art school, where I explored different materials and built large-scale works with no rules.

People started commenting that my metal nets looked like textiles, and a teacher suggested I check out HDK-Valand. I wasn’t sure where I fit in, but a friend, Tilda Olsson, was studying there, and I loved the vibe and her tufted works. It was a leap into something new, but I thought, “I guess I’m a textile artist now!”

I began with embroidery and took a course with Ida-Lovisa Rudolfsson, who introduced me to patchwork and collages and the idea of creating worlds within textiles. That really inspired me.

COMA: And how did you come to tufting?

Cornelia: I tried machine tufting for the first time in my second year and hated it! The machine was loud, fast and heavy, and I felt too disconnected from the work. I’m sensitive to noise and need a peaceful environment when I create. I explained this to a teacher, who introduced me to a manual tufting tool. It changed everything. I could work in a way that felt right for me, more like painting, and I could be present in the moment.

I remember being fascinated by the concept of creating large images with yarn. What often goes unnoticed is that the back of the tuft is filled with stitches, which I saw as an opportunity to connect with my passion for embroidery.

COMA: Was that when you decided to pursue textiles for your MFA?

Cornelia: Yeah, it was around my second year when I discovered the work of Finnish artist Hanna-Kaisa Korolainen. She uses mohair and brushes it out, and I thought her expression was fascinating. I started experimenting with brushing mohair in my tufted pieces, playing with textures—some parts sharp, some blurry. I felt that it was an intriguing technique for creating three-dimensional images and yarn-painted worlds. I knew then that I wanted to continue exploring tufting in my master’s program.

COMA: One of the challenges with hand-tufting is that it’s so labor-intensive. How do you feel about the relationship between the time spent on a piece and its perceived value?

Cornelia: I don’t care how long it takes. I’ve freed myself from the need for others’ approval in my process. I don’t rely on workshops or someone else’s guidance anymore—I have everything I need to create on my own terms. That makes me feel safe enough to invest time in my work.

Spending so much time on a piece makes me value it differently. The time and attention I give to each piece deepens my connection to it. 

COMA: Have you ever thought about collaborating with others to speed up the process?

Cornelia: Honestly, no. Even though I sketch out a basic idea, things change a lot during the making. The manual tufting process allows me to redo things if they don’t feel right. I often pull out sections and start over. My classmates joke about it! But I can’t present something I’m not happy with. The process is too personal to hand over to someone else.

COMA: You primarily work with mohair and wool. Why these materials?

Cornelia: I chose mohair because it already has a furry texture, which I can brush out even more. I blend it with regular wool too. The texture and the way it interacts with tufting are important to me, but I’m open to experimenting with other materials in the future.

COMA: Your work often features animals and symbols from nature. What draws you to these motifs?

Cornelia: The deer, for example, symbolizes vulnerability and the ability to exist in both society and the wild. It crosses borders, which fits with the themes I explore. The black and white rabbits represent contrasts—life and death, fantasy and reality. They were inspired by Hilma af Klint’s work, The Swan. I love working with these symbols to explore what lies between reality and fantasy.

COMA: How do you balance those worlds in your work? Do you hope viewers will pick up on that interplay?

Cornelia: It’s hard to say how viewers will feel. I work with portal-like shapes in my tufts, leaving traces of what the world might be. Some people find my work cute, others find it creepy. The deer, for instance, isn’t a Disney deer—it has brushed-out eyes that hint at darkness.

I love working with contrasts—surface versus what lies beneath. Mohair’s dreamy, blurry texture adds to that ambiguity. I want viewers to question whether they want to touch it or if they find it unsettling.

COMA: Can you tell us about the works you’re presenting at COMA?

Cornelia: Sure! The Black Rabbit was part of a diptych with a white rabbit. It symbolizes contrasts—life and death—and the idea of crossing into a fantasy world, like “following the white rabbit.” Unfortunately, I sold the white one too soon!

The Horse was one of my first large tufts. I wanted to capture movement by tufting in different directions. The whole piece is brushed out, except for the butterflies on top.

Röda Rosa was inspired by Elsa Pärs-Berglund use of the red rose as a symbol for the labor movement and democracy. In today’s turbulent times, the red rose still represents strength and unity.

The Flower and Butterfly piece explores the shape of a body within a world. I had a phase where everything I made was butterfly-shaped! This piece plays with the idea of a smaller butterfly flying away, symbolizing freedom and transformation.

COMA: Your work merges photography and textiles. Do you see these interests coming together more now?

Cornelia: Yes!  Before starting a new piece, I make sure to spend time along the Bohuslän coast or in the forests around Gothenburg. I see it as gathering material, I sketch, photograph, and bring what I discover back into the studio to use as sketches for my tufted works. It can also serve as a way to find the feeling I want to convey in an image. 

My artistic method within textiles, spending time in nature, and the role of photography increasingly resemble fieldwork, where the boundaries of where the image is created become blurred.

COMA: Let’s talk about textiles in the art world. Some people still view textile art as separate from fine art. What are your thoughts on that?

Cornelia: I see myself as an artist, but since I primarily work with textiles, I call myself a textile artist for clarity. I know there’s a perception of textiles being “lesser,” but I haven’t experienced that personally. People are usually impressed when they see the time and effort behind my work.

I think the distinction is more about institutions than artists. There are hierarchies, but I try not to focus on them. Textile art is gaining more recognition, and I think that’s exciting.

COMA: That’s good to hear. Finally, what should we look forward to from you in the near future?

Cornelia: I have a solo show opening on February 7th at Galleri Gamla Farsot in Gothenburg. I’ll be presenting tufted works, embroideries, and a sound piece. I’m excited to create a space where these elements come together. Aside from that, I’m focusing on my master’s and deepening my exploration of image-making in tufting.

COMA: That sounds amazing. I can’t wait to see it.

Cornelia: Thank you! You’re welcome to come.

...

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 Cornelia Öberg.

January, 2024 - COMA Editorial team