Her technique of building fold by fold evokes a sense of constant change and of perseverance. ‘My sculptures have the potential to grow,’ says Friis, ‘and because I have to use a lot of strength to make them, the power of creation is also part of it.’
Her choice of colours (often created using natural dyes) is also connected to the body. ‘I often use tones that resemble flesh or skin, but you also occasionally see spots of other colours – small mistakes in the dyeing process – which suggest that something is not quite right, perhaps hinting at fear or a disease.’
Despite these unsettling themes, Friis’ work is undeniably beautiful – although she says this wasn’t always a given. ‘My earlier pieces were more directly connected to the body – maybe even a little bit repulsive,’ she says. ‘Beauty is a way to communicate, because if something is too disgusting, then people can’t really take it in. But I don’t want them to be just beautiful – there must be some tension, some resistance.’
Over time, the character of her work has also shifted. ‘They used to be more vulnerable, but now I increasingly see vitality and strength in them – there is so much power in all living things.’
Oslo Open 2022, 23-24 April