HANDMADE PAPERS was my first artistic passion! I did cotton papers in an old papermill in Sweden, Lessebo and I learned to do japanese paper at Fujmori papermill, from kozo bark...I love very much the philosophy the japanese way of looking at life as an eternal process of life where everything changes and nothing is stable. So far from our western more material worldview...

When I studied printmaking in Paris, I travelled often to Lessebo in the south of Sweden to incude my prints in the paperfibers when doing the papers. It was fantatic to work in the old papermill with its smells and its heatsteam from the vats, to work with the people there and share their days. Here I developed my own technique to mix my print in the fibers, playing with transparent parts and creating installations and objects for interior design with the papers.

I also developed my ideas of "lightsculptures" - big geometrical forms. The light shine then trough metalgrids covered with transparent papers. My idea was to work with the colored light...and the energy of light.



I travelled to Japan in 1987 to learn to make japanese papers at Flujimori papermill. This was the basic workshop, and I then travelled back in 1989 to do my own artistic works for one months. It was fantastic to live in the little village, having my bycycle and work at the factory every day! Almost no one spoke english so I had my little japanee dictonary.
The technique is very different from the western: the fibers are much longer so the pulp are catched many times on the tatamiscreen.
I prepared my drawings in the evenings with natural pigments, and I included them then in my paperworks. 
I also participated at a "washi tour" with Asao Shimura (a fantastic papermaker and a good friend) and the paperconference in Ibaraki 1989.


To work with light fascinated me! I started to dip metalnets in the paperpulp to then attache it to transparent papers. I did sculptures with concrete and plexiglass to start with, and then big geometric metalforms with lights coming out from small holes, shining trought my prints.

This was a way for me to do objects easyer to live with then just papers.


I made OUTDOOR INSTALLATIONS with paper also...with what I call my "membrans" - paper attached to metalrods.