Composition:
The materials in the tapestry are the following

36% acryl
21% cotton
17% wool
9% silk
7% Lurex (metal yarns)
10% Trevira-cs (warp yarns)

Density of the fabric:

Warp yarns:
51 threads/cm
2 colours (light gray and dark gray, trevira-cs)

Weft yarns:
114 threads/cm
12 colours (5x acryl, 3x cotton, 2x wool, 1x silk, 1x Lurex)
With the tapestry, Miriam Bäckström has found a media by which she can increase the scale of the photographic medium and more importantly renew photography in a way that allows the spectator to go deeper into the image and enter the universe behind the image. Bäckström has though her entire career worked with shifting realities, e.g. in her earlier works where she worked with documenting abandoned homes and film sets. Here, she saw a constructed reality which has founded her point of departure for renewing the photographs as media. As photography was historically thought of as documenting reality, today is has become quite the opposite as a foundation for manipulation, decorating or upgrading reality as seen in social media. By transforming the photograph into a woven tapestry, she enlarges the motif so that otherwise hidden details in the ordinary photographic media become visible. At the same time, this artistic approach allow her to create large scale photographic works, in a 3D-like shapes which offer an entirely new way of photography for the audience to enter on a 1:1 scale. 
In the work "The Opposite of Me is I", a collaboration with Swedish actor Børje Ahlstedt, Miriam Bäckström investigates the figure Pierrot and its possibilities of meaning in a modern context through a modern interpretation of Antoine Watteau's "Pierrot" from 1718. In it Børje Ahlstedt is portrayed laying casually on a couch, dressed in the same costume as the figure in Watteau’s painting.
The motif is a paraphrase over a world-famous painting by the Renaissance painter Antonie Watteau: Pierrot (1718), formerly entitled Gilles, but is better known to portray the eponymous comedian dell-arte character, ‘Pierrot’. The painting was given to the Louvre collection by Louis La Caze where it is placed today. According to Bäckström the figure of Pierrot bears significant cultural traits, closely related to the role of the clown, Pierrot is capable to open up the discussion of the role of the artist in today’s society. In this context the figure of Pierrot becomes emblematic of a role that is always the victim of an audience - or does simply exists for an audience. In "The Opposite of Me is I" these implications forms the starting point in a discussion of the roles which we daily simulate.Bäckström uses photography as the fundamental base in her work. However, she challenges the photographic medium by decontextualizing it, transferring it away from paper to woven tapestry, and finally by adding unexpected layers of meaning from the crossing fields of art history, the contemporary visual art scene and today’s society. In this particular work this tension is expressed through questions such as "What is a human being?", "What is an image?" The refined tapestry technique, the photographic process and the art historical reference to Watteau's painting altogether activate the consciousness that lies in a collective memory at the same time marking the significant role of history.
The conceptual and visual precision of Bäckström's work has gained wide international recognition, not least after Harald Szeemann included it in the Venice Biennale in 1999. Her work is presented in museum collections such as Tate, London, UK; MoMA, New York, US; Louisiana Museum of Modern Art, Humlebæk, DK.
References to the iconic artwork by Antonie Watteau features in the Louvre Collection:
https://www.louvre.fr/en/oeuvre-notices/pierrot-formerly-known-gilles

Video introduction to the Pierrot painting at Louvre (in French):
https://www.youtube.com/watch?v=wd4VCRclDPo&t=27s