Fredell works in a variety of materials and techniques. From textile to ceramics to painting, she wanders with the feelings of life. Setting the external and rational to the side, she dives into the inner chasms of the psyche—a journey thrumming with emotions, instincts, and the  nconscious. Her works are not neat, they are a mess of chance, playing against order. They dip into despair, choke on anger, scream with ecstatic delight. Fredell enchants us, weaving a spell over the ephemeral—capturing its essence while unraveling the human experience through raw sensuality. Flytande Värld marks Anja Fredell’s debut at Market Art Fair with Galleri Hedenius. The exhibition features large to small scale textiles alongside oil and dry pastel paintings on paper. Fredell’s textile works are hand tufted, a physically intense technique where yarn is punched into canvas with a machine-like gun. The rhythm and energy of the process are the anima of the finished piece. Fredell’s paintings, a recent evolution in her practice, strip away the materiality so present in her tufted textiles, with a venerated focus on pure color. A visual language, mixing and stirring emotion, binds the two mediums. The title Flytande Värld springs from the Buddhist term Ukiyo, which refers to the 'suffering world'—a place of illusion, attachments, and inevitable loss. Attunement to this impermanence awakens a gentle melancholy—a heartbreaking sadness of things, known in Japanese culture as mono no aware. These sentiments surface here in Sweden as well, deeply intertwined with the region’s connection to nature. There is a melancholy tied to the long, dark winters and short, bright summers that creates a natural awareness of transience. During the Edo period in Japan (1615–1868), Ukiyo took on a different meaning. Rather than negative transience, the 'floating world' was celebrated as a positive ethos, with an emphasis on sensuality. This shift led to Ukiyo-e ('pictures of the floating world'), woodblock prints and paintings that captured geishas, kabuki actors, and landscapes. Beyond the static stylization, flat colors, and bold outlines of the prints, Fredell’s textiles and paintings pulse with the speed, rhythm, and rich coloration of 20th-century painters Pierre Bonnard and Chaim Soutine. Bonnard’s flickering brushstrokes dissolve forms into vibrant patches, while Soutine’s swirling gestures spark restless motion. As in Fredell’s work, their subjects are merely vessels—representation is secondary; expression is paramount. Two monumental textiles, Viljans bo - I mörkrets hjärta, draw us into this flytande värld. Darkened bark arches above, while mossy green threads drip into the scene. Golden paths narrow into the tufted forest, siren songs that grip at fantasy, imaginative courses or heartlines that connect land, culture, and both personal and shared emotion. Fredell is the gardener of this realm, blooming and withering with the seasons. Her textiles and paintings place us in a world—our world—inviting us to feel what it means to be alive, to experience the essence of impermanence.