Introduction

Miriam Bäckström has worked since the mid-90s, with indirect modes of portraiture. She has photographed different interiors, including film sets, environments considered significant enough to be rebuilt in museums, model homes in commercially redeveloped areas and the apartments of either living or deceased people. Bäckström probes the limits of documentation by taking pictures of interiors whose appearance of objectivity imperceptibly acquires a fictional quality. Seemingly familiar, these interiors compel us to invent stories about those who may have occupied them.

In recent years Bäckström has worked with tapestry in large formats, where the photographic motif has been woven in one piece.