Skellefteå Konsthall (Skellefteå Art Gallery) is abuzz with activity. Bea Szenfeld, the Polish-Swedish artist behind the upcoming exhibition "Haute Papier," stands amidst unpacked boxes and artworks, discussing the delicate nature of her creations with the venue's technicians.
Three days of careful unpacking have revealed garments crafted from paper, some surprisingly resilient, others requiring meticulous repair.
These are no ordinary clothes. Sewn with kilometers of thread, the paper garments often comprise numerous pieces – 10 to 20 – meticulously assembled.
– These aren't your average tights, you can't just shove them in an envelope, Bea laughs.
One particularly intricate piece, a cascade of paper circles suspended gracefully around a mannequin's neck, exemplifies the weight of these creations.
– I don't use arms, legs, or zippers, Bea explains.
– Comfort isn't a priority. It's about exploring new silhouettes.
The exhibition showcases garments dating back to 2014, revealing the natural ageing process of paper.
– Newer pieces are crisper, Bea notes.
– Initially, I sought permanence in my art, but paper changes, shrinks. It's a natural material.
Preserving these works is a painstaking process. Ironing and assembling thousands of tiny paper circles breathe new life into pieces time has worn.
– There's no logic to the assembly, and when they break, it feels like the work and craft itself is lost.
Each garment takes roughly three months to create, from sketch to finished product. The upcoming exhibition will feature fourteen such works. Despite the challenges, Bea remains dedicated to her craft.
– This isn't romantic, it's reality. You get a commission, you work hard. There's a difference between creating for a photo shoot and something meant to last.
Curator Anna Karin Larsson describes Bea's work as a unique blend of craft and design.
– Her ability to create wearable sculptures sets her apart, she says.
Bea acknowledges the difficulty of selling her creations.
– A jacket that weighs 45 kilos, can't be washed, and needs four people to help put it on... it's a tough sell, she admits.
– In that sense, I exist outside the mainstream art market.
However, the beauty of the process itself motivates Bea.
– The countless hours spent crafting these intricate pieces yield stunning results, she says, contrasting it with the potential futility of working with fabric.
Bea's income comes from various sources - design collaborations, projects for SVT (Swedish Television), and rug designs for Jotex. In a surprising turn of events, she received an email from the Metropolitan Museum of New York requesting a garment she'd posted on Instagram.
The requested piece, however, was in poor condition. Bea offered alternatives, but the museum was adamant. Faced with the opportunity to exhibit at The Met, Bea opted to recreate the garment within a tight three-week deadline.
– It was like winning the lottery, she beams.
– Exhibiting at The Met – a dream come true!
Naturally, Bea attended the opening, a stark contrast to the jet-lagged artist in her vintage kimono.
– I have a very small wardrobe, she says.
While her own wardrobe is minimal, Bea has created show-stopping pieces for others, including Alice Bah's ice dress for the Nobel Gala and Lady Gaga's outfit in the video "G.U.Y."
– It was a lot of work for very little screen time, she laughs about the Lady Gaga project.
Nevertheless, Bea wouldn't trade her life for anything.
– There's no time for boredom. Every project is a new challenge. This is how I live.