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Josefin Tingvall, 1993, is an artist who works internationally with a base in Gothenburg, Sweden. By encountering material in a nostalgic way, she explores the dynamics of the landscape, manipulation of its effects and boundaries. Themes she works with in her art are environment, fragility and change; the role of human beings in our self-built world. With a base in textile crafts, she began her education at Linköping University and took a Bachelor of Arts in Craft and Design at the program Crafts and Design with a focus on textiles and plant dyeing processes. In 2016, she participated with her degree project 100 against 0 on the Young Swedish Design exhibition tour.

After studying at Linköping University, Josefin continued her Education at Craft master program at Konstfack, University of Arts, Craft and design, in Stockholm. During her master's thesis ‘Soft Society’, she focused on textiles as a method in urban environments. During her years at Konstfack, she also participated in the study circle immediate archeology, which was led by PHD student Luis Berron Negron. The work Soft Society, which began in 2016, is a suit and ongoing collection of prints from lost gloves. The large-scale work containing over a hundred pieces has been shown at Galleri Noorus in Tartu, Estonia in 2019. Another project that started during Josefin Tingvalls studies at Konstfack is the concept Dien. The word dien is an extinct word that was a homograph between the words dye and die. In the process-based project urban places are revisited and revalued through dye techniques. By applying and twisting the dye techniques through meeting the urban landscape a new form is made and we get to meet a different shade of our surroundings. After studying at Konstfack, she participated as a guest student at the Royal Institute of Arts in Stockholm, 2017, where she continued to work on speculative material storytelling, recording materials and ephemeral processes.

In early autumn 2018, Josefin Tingvall was awarded a studiogrant from Luleå Municipality's in northern Sweden, and lived and worked in Luleå for a year ahead. There she focused more on film and photography of natural processes, especially ice, but also created a series of self-reflective textiles that were about her everyday life and the people and situations she encountered during the year. After the scholarship period, she exhibited in Luleå Art Gallery with the exhibition Black Water, where she showed a mixture of newly produced and previous works. Before the exhibition, she created a film work of the same name, in the slow film you see collages of black ice and details of landscapes. The film and the name Black Water is about the mixture of iron, water and tannin from trees, the three largest industries in northern Sweden that exploit large natural resources and land areas. The film and the exhibition ask the question of what it is like to live with black water and what will happen in the future.

In september and october of 2019 she participated as an invited artist in a residence at Icelands Textile center with funding through Nordic Culture Contact. In 2019 she also received support from the Längmanska Foundation and began developing the Language of Loops project. The project investigates the boundary between hand-held and written knowledge and expression, the project that is still ongoing has, among other things, resulted in a font that makes it possible to write and read crochet. Spring and summer 2020 she was a residence artist at IASPIS, Konstnärsnämnden - the Swedish Arts Grants Committee in Stockholm. During her residency, she had the opportunity to apply and adapt virtual tools, photogrammetry and virtual game production, in her otherwise material-based practice. The project 'Every love has its own Landscape', which consists of virtual landscapes created from contributed images of textiles from contemporary homes around Sweden started during that time, and through an exploratory work on plant processes and textile collage, which resulted in the photo series Soft Shelled, Josefin Tinngvall continues to work with the relationship between human, material and environment with a focus on traces and relationship

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