The work of Swedish artist Daniel Nyström constantly navigates the boundaries of contemporary art, design, architecture, and textiles. Far from being problematic, Nyström leverages the ambiguity and intangible limits of these disciplines to produce work that, while integrating a wide range of audiences and heritages, also questions the limits of contemporary society itself. When Nyström works, he enters a meditative state. He starts from an idea and tries to transform it with his hands, which allows him to connect with himself. This is why he does not believe in the concept of time; for him, the measurement of time is an extension of the work.

Rather than being geographically or contextually definable, his body of work is characterized by a deeply human trait: experimentation. The use of fire, which is nearly ubiquitous in his work, has a universal component like no other. An enormous diversity of materials comes together in his pieces, with a sensitivity to incorporating techniques from various regions and communities—such as Colombian weaving with virgin wool, for example—resulting in a work that embodies both local techniques and universal essence.

Nyström approaches communities, understands them, and learns from them through observation. His memory is connected to his hands, which learn quickly. He is not interested in merely copying what artisans do; rather, he seeks to understand how they do it and the origins of each practice. This artist found in the artisanal traditions of Colombia an unexpected wealth to incorporate into his artistic work.

“I am aware that there are categories: art is one thing, architecture another, interior design a different thing, and fashion another. But for me, the space of creativity is one—one that manifests itself through different structures. Each piece I make is unique and is a work of art. You can purchase one of my hats, and if it doesn't fit, you can hang it as a display piece.”