Isabel Berglund is a textile artist with a degree in textiles from the Royal Danish Academy of Fine Arts School of Design (1994-1997). She is fascinated by knitwear and is internationally known for her large-scale knitted monuments. These come to life through a series of workshops where volunteer participants help create the work. Isabel Berglund works with anthropology, sociology and interaction art as collaborators in her projects, using her practice to mediate social encounters, among other things. This means that the artist's aesthetic is combined with the participants' artisanal knitting contributions.

The works of Isabel Berglund unfold as sculptural objects subjugated to an intimate investigation of material, color, and space. Berglund’s preferred media is the handknitted yarn which she varies and processes with a focus on the material’s aesthetic and tactile qualities. By connecting the knitting of untraditional materials with found objects, she creates a dislocation between the timely object, the historic craft, and the timeless choice of material.She embraces and challenges well-known shapes and objects and constantly shifts between the abstract and concrete. New rhythms in the recognizable objects appear, and she challenges the form and function which are otherwise clear. In this way, her works divert the traditions that the medium refers to and the result is a new sensibility towards how those objects and materials that people surround themselves and identify with again can be understood and reinterpreted.

Isabel Berglund’s works appear fluent in form; whether the knitting is presented alone or as an organic elongation of found objects, the works contain several elements and layers that slowly develop in the gaze of the viewer. The textile empathizes Isabel Berglund’s use of color and the creation of space. Often, she works with a simple color scheme that brings forward the surface and accentuates shape and density. Isabel Berglund is interested in how different identities concretely materialize in her work and therefore she has several times invited others to take part in the craftmanship of the creation. In these circumstances, the works have been thought and created by the artist but affected by the collaboration. Thus, the process is at the same time controlled and open. It is both Berglund’s own and a piece of relational aesthetic that testifies to the fact that Berglund’s works not only are form, content, and expression but also a social insight and a human imprint of recognition, co-ownership, and potential of change.