Ellen Grieg (b. 1948, Oslo) is educated at the Oslo National Academy of the Arts, the Academy of Fine Arts in Bratislava, and the College of Arts and Crafts in Prague.

Throughout a long artistic career, she has acquired deep knowledge of various techniques and color schemes. Grieg's works are characterized by an abstract visual language in textile materials where patterns, colors, structures, and materiality are consistent focal points. In recent times, Grieg has worked on the series "Transformations" where thick colored ropes hang freely in space; they are voluminous, occupying physical space, but also visual space through the use of strong colors, play of light and shadow, and materiality. The abstract visual language highlights the materiality while simultaneously creating an immediate experience of the work. The works are often shaped in brightly colored spirals hanging from the ceiling, gradually unraveling the further down the threads hang. Through her uninhibited play with ropes and textiles, Grieg has given textile art a timeless relevance in Norwegian art history. Grieg's works have been acquired by institutions such as the National Museum, Oslo Municipality's Art Collection, the Ministry of Foreign Affairs, and the Norwegian Cultural Council.

Sarah Vajira Lindström (b. 1981, Sri Lanka, SE/NO) holds a degree in textile from Royal College of Art and Central Saint Martins in London. In her body of work, Lindström explores the intersections of science, belief, and magic through her fascination with the cultural history of science. A consistent tendency in her work is the exploration of boundaries through experimentation with material and technique. The result is something that doesn't quite have a place - non things. These non-things are neither one thing nor another. It almost seems as though they have occurred on their own. Inspired by the aesthetics of science, Lindström creates an aura of trust and truth in her work. Perfection is central to the expression and creates a tension where the work is both incomprehensible and convincing.

Tonje Plur (b. 1985, Oslo, NO) has a craft certificate in dress and costume design (2005) and a bachelor’s and a master’s degree in clothing design from the Oslo National Academy of the Arts (2012 - 2017).

Her artistic practice can be described as a combination of craft, fine art and fashion design. Plur works primarily as an artist but utilizes techniques from craft and fashion industries; in her voluminous sculptures, seam and knitting are used in combination with a variety of textile materials and surfaces. Plur is interested in how a variation of techniques, materials and surfaces intersect both visually and tactilely, and is known for her rich combinations of techniques and materials, creating structure and three-dimensional surfaces.

Plur is acquired by the National Museum of Norway.

Siren Elise Dversnes Dahle (b. 1986, NO) uses photographic starting points of collapsed buildings. These images of ruins are woven, and a fine-meshed interaction emerges between construction and the destructive collapse associated with warfare and crisis. The architecture is grim, apparently destroyed. Dahle’s work paints a picture of a more existential decay – distorted thoughts and feelings of discouragement. She places herself at an intersection of contrasts: between imperfect beauty, an aesthetics of decay, and the possibility of building something up.

Dahle is acquired by the National Museum of Norway and the National Museum for Decorative Arts and Design in Trondheim.

Hanne Friis (b. 1972, Oslo) is educated in painting and sculpture at the Art Academy in Trondheim. She is primarily known for her sensuous, abstract sculptures in various textile materials. A significant part of her fabrics are stained by plants through slow dyeing processes which give the surfaces a painterly expression. The sculptures are carefully crafted by hand with a distinctive stitching technique; with a small needle Friis transforms the material by folding and pressing the fabric into organic formations and complex structures that generate a sense of change and growth. The ambiguity in the relationship between form and materiality is a recurring theme.

Friis’ work is included in the collection of Haugar Art Museum, Tønsberg, Sørlandets Art Museum, Kristiansand, The Norwegian Government, Oslo, KODE Art Museum, Bergen, The National Museum, Oslo, The Museum of Decorative Arts, Trondheim, The Art Museum of Northern Norway, Tromsø, The Haugalandmuseum in Haugesund and The Arts Council, Norway as well as numerous private collections nationally and abroad.