Ulrika Linder

Born 1984 in Uppsala, Sweden. Lives and works in Örebro, Sweden


The Sweden Sweater

A4, pencil on paper / A4, color pencils on paper

The Sweden sweater

This sweater symbolizes Sweden. The chain at the top binds us together as a country with laws, borders and taxes among other things. On one of the arms there’s the suburbs with their grey concrete houses, on the other one there’s the countryside, with its forests and red houses. In the middle there’s the money, the men who own it all, the clouds they sit on, and their expensive houses. With these symbols, I want to discuss why the suburbs and the countryside often get pitched against each other in debates, although they share a lot of the same problems: cutbacks in social projects, poverty, low education, closing of pharmacies and medical facilities, libraries and the likes.


Originally this is a drawing I made for the local newspaper ETC Örebro around the new year 2013-2014. The text “Samtycke” (Consent) refers to a change in the law regarding rape that has yet not been made. In 2013 we had a handful of really upsetting verdicts in Sweden, where men of all ages and backgrounds were absolved of rape charges, although the accusations seemed real. The court tend to focus more on the victim and question her behavior or her clothes. It seems almost impossible to get a rape conviction. The change into a consent-based understanding of the law should work to shift the focus from victim to abuser. Although a lot needs to be done to change the general attitude towards gender in our society, the consent law has become an important symbolic question to feminists.

Artist Statement

My main focus for the past years has been on large format drawings, mostly in charcoal and dry pastels, but also on satire drawings and illustrations. I work with subjects such as gender, everyday life, politics, and Swedish folk culture in my images. In March 2014 I became a mother for the first time, which changed my way of working and my work a lot. In my later drawings I’ve moved away from the focus on folkloristics, trying to find new and more relevant political images.