Swedish artist Annie Johansson explores latent—often contrasting—material extremes. This curiosity can be traced to a winter residency at SÍM (Samband Íslenskra Myndlistarmanna, Association of Icelandic Visual Artists) in Reykjavik a decade ago when a bit of bad luck prompted a fortuitous turning point for her work. It was not long after she had completed her MFA in textile art at what was then called the Academy of Design and Crafts, University of Gothenburg, and she felt the need to “get out of the textile art bubble”. Unexpectedly, the materials she had shipped in advance to Reykjavik never arrived. Instead, Johansson turned to what was at hand: ample amounts of Icelandic sheep wool. “Att stå bredvid berg” (2017), dip-dyed and suspended from a delicate sheer pink chiffon panel pierced with a central portion of running stitch that ends in a fringe, was the outcome. Reflecting on the work that remains one of the largest in her portfolio, she summarizes, “I wanted the silk to be as fragile as it could be, the wool as heavy as it can be.” ....