The “mutated” fabric rolls are placed in a black wooden structure, which in addition to relating specifically to the RUMMET’s distinctive windows has references to a classic shaft loom but also to a modern conveyor belt. The structure spans across the exhibition space and plays with the notion of continuing on the other side of the room’s walls as a reminder of the large open spaces in the former Brandts Klædefabrik.

In three rolls, I worked with unraveling, and I studied how different fringe lengths behave. Long fringes tend to clump together, unlike short ones, where the threads stay separate. Short fringes are also self-supporting, giving them a spiky look; long fringes are so heavy that they hang.

The cocoon-like roll of fabric (l: 50cm, ø: 20cm) in the picture above was created based on a previously agreed principle: The width of the fabric is made one thread narrower on each side for each round of winding. Later two threads, then three threads and finally four threads on each side for each round. Another roll of fabric (placed in the middle on the floor in the picture of the entire installation) was created based on a similar principle: The width of the fabric is made one thread narrower every one and a half meters. The shape of the rolls of fabric is “random” in the sense that they are the result of a production recipe.

In a crookedly rolled “mutant”, the thin weight thickness at one end of the roll means that the fabric layers here contract slightly, so that the edge waves decoratively – a completely unexpected gift and a result of the fabric’s own “will”. The fabric web also has two different edge types, a torn one, which gives a velour-like soft surface and a cut one, which gives a smooth surface.