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Stina tiktok
Learn more about Stina Löfgren.
Date of birth: 05–02–1996 · Nationality: Swedish · Position: Striker · Contract expires: 30–6–2026 · Current club: Arsenal.

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» I strive to find beauty in the imperfect. «

Stina Persson has done work for iconic brands like Veuve Clicquot, Louis Vuitton, and Vogue Nippon.

I’m inspired by digitally unaltered art, where you can see the paper, the marks of the maker. When I work, I strive to find beauty in the imperfect.

She works with watercolor, ink, collage, and typography to create content for print, animation and film. Hand drawn, hand painted, cut and glued, and when necessary, digitally enhanced.

Working as a commercial illustrator I have learned to adapt to various clients and projects, while still honoring the core of my own style.

Stina fuses the traditional with the edgy to introduce a modern look to illustration — a look that is appreciated by numerous clients.

Different projects demands different styles, and finding the suitable one is something I really enjoy. Sometimes my work needs to be bright and colorful whereas other projects call for the power of a black ink line on white paper.

So what would be some favorite pro

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Internal Algorithms (Listen to your ancestors, they have all the answers) (2023) is a large textile artwork featuring a rhythmic black-and-white design that encourages viewers to stop and observe the changing patterns. Hidden within the artwork are messages that focus on the concepts of time and history. This piece was conceived during the pandemic, a time when the struggles of Black people were often overlooked and dismissed. The process of weaving this piece became a daily ritual and a positive affirmation for Stina, serving as a reminder of the deep-rooted wisdom and awareness inherent in the Black diaspora.

Data Studies: Caribbean-Canadian Geographies 86/96 (2022) is a textile sculpture in which the artist uses a loom to weave data that we are accustomed to accessing on a computer. In this context, data is translated and woven into color-patterned tales, using the warp to visualize migrational plights. Oscillating between ritual and repetition, notions of truth and myth, Stina investigates both form and materials in this work. The aim is to draw meanings to the r

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Stina: I would usually start off a panel with a land acknowledgment, so I’ve been thinking through how to situate this discord conversation re: Indigenous sovereignty. I’m occupying Cahuilla and Tongva land (here in Riverside, CA), and I know many of us in other spaces are either on unceeded native land or live in places with a particular historical relationship to resource extraction and land displacement. I’d also like to acknowledge that the material infrastructures which allow us to meet virtually (from the networks of cables to minerals like bitumen) are materially caught up in the ongoing politics of colonialism. To expand on Hugh’s great point about ownership of infrastructure during the roundtable, we should also be thinking about the placement and groundedness of these infrastructures.

Graham: Excellent points, because the “cloud” metaphor is just so ridiculous. Thank you for reminding us all (well, me at the very least) of this important acknowledgement.

Ana: Stina, what a fascinating paper. So much to think about!
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