38uk Eurydike Takaosa, Ulla-Maija Vikman, viscose and linen, 55" x 34.25", 2012, $10,000
36uv Aix, Ulla Maija Vikman, painted viscose and linen, mahagony, 56" x 13"; 140 x 33 cm, 2009, $7,500
35uv Akureyri, Ulla-Maija Vikman, painted viscose, and linen, mahagony, 57" x 58", 2009, $15,000
18uv Reflection, Ulla-Maija Vikman, painted viscose and linen, mahagony, 73" x 69"; 185cm x 175cm, 2003, $15,000
25uv Dark, Ulla Vikman, painted viscose and linen, steel, 71" x 16.5"; 180cm x 42cm, 2003, $8,750
34uv , Willow Willow, Ulla-Maija Vikman, painted viscose and linen, mahagony, 59" x 63"; 150 x 160 cm, 2007, $15,000
32uv Reed, Ulla-Maija Vikman, painted viscose, steel frame, 73" x 10.5", 2003, $7,500
Museum of Modern Art, New York, New York (Wall Hangings, curated by Mildred Constantine and Jack Lenor Larsen); Lausanne, Switzerland (11 International Biennials of Tapestry); Smithsonian Institution Traveling Exhibition (SITES): Charles and Emma Frye Art Museum, Seattle, Washington; Oakland Museum, California; Museum of Science and Industry, Chicago, Illinois; Herbert F. Johnson Museum of Art, Cornell University, Ithaca, New York; Anchorage Historical & Fine Arts Museum, Alaska; Montgomery Museum of Fine Arts, Alabama (22 Polish Textile Artists, traveling exhibition); Jacques Baruch Gallery, Chicago, Illinois; Flinn Gallery, Greenwich Library, Connecticut (Beyond Weaving: International ArtTextiles); University of California Los Angeles Gallery (Deliberate Entanglements); Pasadena Art Museum, California (one-person exhibition); Museum of Decorative Arts, Oslo, Norway (one-person, traveling exhibition); National Museum, Stockholm, Sweden (one-person exhibition); Museum of Contemporary Art, Chicago, Illinois; Museum of Contemporary Art, Montreal, Canada; National Academy of Sciences, Washington, D.C.; DeCordova Museum, Lincoln, Massachusetts; Dallas Museum of Fine Arts, Texas; Portland Art Museum & Portland Center for the Visual Arts, Washington; Visual Arts Center of Alaska, Anchorage; Frederick S. Wight Art Gallery of the University of California, Los Angeles (retrospective, traveling exhibition); National Museum of Modern Art, Tokyo and Kyoto National Museum of Modern Art, Japan (Fiber Works from Europe and Japan); Venice Biennial; Sao Paolo Biennial.
Museum of Arts and Design, New York, New York; Central Museum of Textiles, Lodz, Poland (11th International Triennial of Tapestries); Museum of Applied Arts, Helsinki; Alvar Aalto Museum, Jyväskylä, Finland; Museum Schloss Rheydt, Mönchengladbach, Germany (solo exhibition); La Genille de la Bastille, Paris, France; Musée des Decoratifs, Lausanne, Switzerland (International Biennial of Tapestry); Court of Justice of the European Communities, Luxembourg; Embassy of Finland, Washington, DC (solo exhibition); Rovaniemi Art Museum, Finland (solo exhibition); North Dakota Museum of Art, Grand Forks (A Scandinavian Sensibility); Design Museum, Helsinki, Finland; Mint Museum of Craft + Design, Charlotte, North Carolina; International Museum of Applied Art, Turin, Italy; Szombathely, Hungary (International Biennials of Miniature Textiles); Art Gallery of Western Australia, Perth. Recipient: 15-year Artist’s Grant, Government of Finland; 1992 TEXO Textile Artist of the Year.
Threads stretched like a warp form a surface on which I paint like a painter on a canvas. I repaint and wash two or three times to get tones I want. Viscose is rewarding to dye and it hangs beautifully. It is shiny and reflects light, ideal for depth and vividness of color.
My inspiration is the material itself. The vertical threads have their own natural rhythm complemented by the horizontal patterns. Like a weave, the pieces are based on vertical and horizontal elements. Though the working field is free to be painted, I mostly stick to horizontal stripes. It could be the influence of the weaving tradition, or it could be caused by my need for harmony - or maybe it is a part of my “language".
I always hang my work at some distance from the wall so that gives the impression of being in free fall, floating in the air. The slightest breeze or draft makes the threads move, affecting both the light and the form of the work. This kinetic effect brings the piece to life within its environment.