About

My Purpose

 My namne is Anna Losefsky. Vildväv - Swedish for “wild weave” - is both the name of my practice and my guiding principle: to grow into the wild unknown where future becomes possibility.

 I’m in a continuous, transformative process toward authentic self-expression, always returning to the child within my grown woman. At the same time, I’m a mother, caring for my children’s well-being. In weaving, I’ve found a space where I can hold myself and where my mothering can grow.

 My practice partly lives in the solitary act at the loom but it doesn’t stay there. It becomes an offering, moving outward into shared space, becoming community rituals, performance and workshops. I create spaces where emotion turns tactile and takes expressive form, spoken through the language of hands and body, where community becomes felt, seen and held.

 My aim is to inspire others to rediscover their own self-expression, to help their children to keep theirs.

My Weaving

 My weaves are made with structure and patience: warp, yarn, and knots held in frame and loom. And still, they remain tender, with visible threads, raw edges, and unresolved forms. They are pieces without armor and yet, they hold.

 In each piece, I reclaim myself as home. Emotional memory becomes embodied wisdom, and embodied wisdom becomes emotianal memory.

Here, both the small child and the powerful woman are welcome.

Here, the quiet and the wild may coexist.

 

To Understand The World and to Hold it

 Through weaving and fiberwork as tools for co-creation, play, and storytelling, I create tapestry and artefacts that invite embodied participation. In dialogue with creative documentary forms, such as writing, photography, and film, I explore social ritual, embodiment, and the emotional memory of childhood, motherhood and womanhood, both my own and that of the collective.

Through artistic inquiry, I document these rituals where art, social design, collective care and self-reflection meet, and explore how artistic practice can serve as a listening, embodied, and relational tool for understanding human contexts, and for expressing both the inner child and the powerful woman.

I share a studio with fellow textile artists and take part in collegial collaborations, communal projects, craft cooperatives and global residencies - alongside my own transformation. I believe in the power of the creative collective: where every voice and expression has a place, can be heard, and be transformed.

The work tells the story:

Every thread carries a life and its authentic expression gives form and meaning to the greater weave.

 This is not just my practice.

It is my way of living.

Person holding a woven tapestry with a landscape design, partially covering their face, with long braided black yarns in each hand.

Curriculum Vitae

My work moves through material, pedagogy and social structures, returning to art as research. Through weaving, material becomes method and structure—holding attention, affect and duration. The circle closes at the loom.

Education & Advanced Training

 (Artistic research, performativity and material practice)

 Artistic Research

  • Artography in Theory and Practice in Higher Education, Stockholm University of the Arts (SKH).

    Advanced course in a/r/tography as an artistic research methodology, with focus on embodied knowledge, artistic practice as research, and reflective documentation.

 

  • Performativity in Visual and Material Culture Studies, Konstfack University of Arts, Crafts and Design.

    Advanced theoretical and practical exploration of performativity in art, craft and material culture.

 

 Societal Structures, Care & Organization

 

  • Master’s Degree in Childhood and Youth Studies

    Stockholm University, 2017–2019 

    Interdisciplinary and global studies of how children, youth and adults, together with institutions and communities organize, social, cultural, material and environmental practices in contemporary society.

    The programme examined dependency, autonomy and cultural forms within legal, ecological and socio-political structures, and how participation is both structured around children and actively produced through children´s and young people´s own collective practices.

    Training in ethnographic methods and cultural analysis informed an ongoing interest in holding, care and social organization as conditions shaping lived experience in the Anthropocene.

 

Pedagogy as Transdisciplinary Material Practice (STEAM)

 

  • Bachelor in Pedagogy – Transdisciplinary Aesthetic Practice

    Södertörn University, 2007–2011

    Specialization in artistic, aesthetic and material practices as transdisciplinary methods for engaging theoretical subjects across literacy, mathematics, science and social studies.

    Emphasis on embodied inquiry, relational processes and art as a mode of thinking rather than a subject-specific outcome.

 

  • Dynamic Pedagogy, Stockholm University, 2011

    Relational and process-oriented pedagogical studies focusing on creativity, expression, embodied processes and inner child–oriented inquiry, with strong emphasis on group dynamics, affect, and experiential learning.

  • Supervisory Methods, Linnaeus University, 2024, Collegial learning, pedagogical leadership and reflective practice.

Material Craft & Textile Foundations

  • Handarbetets Vänner – School of Textile Handicraft

    Artistic Embroidery, 2023–2024

    Tapestry Weaving (loom), 2022–2023

    Tapestry Weaving (frame), 2021–2022

     

  • Nyckelviken School of Handicraft

    Wood, Form and Craft, 2006–2007

    Colour, Form and Craft, 2005–2006

     

  • Art History, Stockholm University, 2003–2004

 

Artistic Mentorships & Studio Practice

  • Member of a shared weaving studio (2021–ongoing)

  • Artistic mentorship with textile artist Miriam Parkman (2024–2025)

  • Loom guidance by master weaver Ligita Veigurs (2022–2023)

 

Residencies, Grants & Memberships (Selected)

  • Studio Kura Residency, Itoshima, Japan – July 2026 (upcoming)

  • Nordingrå Konstby Residency, High Coast, Sweden – April 2025

  • Ós Residency, Icelandic Textile Center – July 2023

  • Recipient of NFH Grant, Swedish National Handicraft Council – 2025

  • Member of 125 KVADRAT, craft cooperative – 2024–2025

  • Tomma Rum (Empty Spaces), self-organized residency, Ljusne – 2015

 

Exhibitions & Artistic Presentations (Selected)

  •  ArtCraft is LoveCraft – mobile tapestry performance, Parklek tour, Stockholm, 2025

  • På Stranden (At the Beach) – group exhibition, 125 KVADRAT, 2024

  • Nu och Då (Now and Then) – group exhibition, 125 KVADRAT, 2024

  • Soft Connections – group exhibition, Icelandic Textile Center, 2023

  • Tomma Rum (Empty Spaces) – group exhibition, Ljusne, 2015

 

 Social Weaving & Situated Artistic Practice

 (Contextual practice informing artistic research)

 

  • Mobile Parklek weaving project, Cultural Center Kramfors (Nordingrå Konstby), 2025

  • ArtCraft is LoveCraft – collective weaving workshops and pop-up performances, 2025

  • Poetic film collaboration with Fredrik Bjernelind, 2025

  • Leader and member of Creative Circles in artcraft (2022–ongoing)

 

Pedagogical & Artistic Leadership (Condensed)

 

  • Pedagogical Leader – Transdisciplinary Aesthetic Practice (STEAM)
    Eriksdalsskolan, Stockholm (2020–ongoing)

  • Teacher – Transdisciplinary Aesthetic Practice
    Eriksdalsskolan, Stockholm (2011–2015)

  • Social Leader & Activity Developer, NGO Swedish with Baby (2018)

  • Creative Pedagogue, Parklek and open-access play culture, Stockholm (2000–2002)

 

Publications

  • Ós Residency Catalog, Icelandic Textile Center / Blurb Books, 2023