The project is part of my ongoing work at Konstfack in Stockholm. I chose plywood for its layered construction and because it is relatively easy to cut and reshape. The surface also became an active part of the painting. Knots and irregularities in the spruce appeared as small bodily marks, scars or eyes, influencing how the composition developed.

I like to adapt to the material I am working with rather than control every detail in advance. An idea can only take a work so far; the material and context must contribute something of their own. In this case, the grain, layers and knots of the spruce became part of both the painting and the final chair.

I plan to make another one, slightly more comfortable.